A Quote by Jeff Lemire
For some reason, I have always had a really good ability to write children in a way that's realistic but not annoying. The key to that is underwriting them: peel back the dialogue and keep it simple.
Related Quotes
I didn't necessarily have a total idea when I was writing the movie of where everything was going. I just wanted to have really realistic dialogue and write like people I knew talked. I tried to keep it very real.
When I first started writing plays I couldn't write good dialogue because I didn't respect how black people talked. I thought that in order to make art out of their dialogue I had to change it, make it into something different. Once I learned to value and respect my characters, I could really hear them. I let them start talking.
My brother had fabulous children before I had children and for some reason I wanted to photograph them, and that was when I got my first camera. Children have something totally unconscious about them. That's how I learned.
Not all the lyrics are topical - sometimes that is just the setting. They are all pretty much interpersonal. For some reason it's easier to write about people who are unsavory. It's like sometimes when you peel back an onion, there is mold inside.
On acoustic guitar I tend to stay in the key of D for some reason. On electric guitar I keep basic: C, G, D, and A. The key of D minor is also real good for me.
In playwriting, you've got to be able to write dialogue. And if you write enough of it and let it flow enough, you'll probably come across something that will give you a key as to structure. I think the process of writing a play is working back and forth between the moment and the whole. The moment and the whole, the fluidity of the dialogue and the necessity of a strict construction. Letting one predominate for a while and coming back and fixing it so that eventually what you do, like a pastry chef, is frost your mistakes, if you can.
In fiction, I tend to write fairly realistic dialogue-not always, and it tends to vary
from book to book. But in many books, there is a colloquialism of address. The characters will speak in a quite idiosyncratic way sometimes.
There is no such thing as realistic dialogue. If you [simply recorded] the real conversation of any people and played it back from the stage, it would be impossible to listen to. It would be redundant . . . . The good dialogue writer is the one who can give you the impression of real speech.
Mark and jay Duplass really like to improvise. Even if we beg them to go back to the script, they invariably ask us to go "off the rails," as they like to call it. It's just the way they work. You get a full written script. And it's really, really, really good, so that's why it's kind of peculiar that they always want you to improvise, because if I wrote something that good, I would want everyone to stick to the dialogue that was written.
I always say, 'If you can't give a reason for the banana peel being in the alley, then don't have the comic slide over it.' Do you understand what I mean? First explain how the banana peel got there quickly. And then there's a reason for all the comedy.
For me the very important thing was never to forget that they had no right to have me there, that my duty was to escape and that I needed to get back to my family and to my children no matter what. And that I could not accept to just see them as an authority, that I had to always keep in mind that I had to rebel and to keep my distance and to protect my soul because the core of the problem is dignity.
What really scares me is Alzheimer's or premature senility, losing that ability to read and enjoy and to write. And you do it, and some days maybe aren't so good, and then some days, you really catch a wave, and it's as good as it ever was.
The key is that you never check the championship. You always carry it on. So when you're going through TSA, it's always a treat because, for some reason, they always like to pull it out and hold it way above their head and throw it over their shoulder and put it across their waist, see what it looks like on them.
The key to being a great band that lasts is always going to be making sure you write really good songs and put on really good shows.
Sometimes I find it tiresome to write actions and describe the scene in a very intricate way so that every crew member understands where we are going - that I can find a little bit long and tiresome. But dialogue is just all my life. There's no way I could ever be challenged, not challenged, but I'm always so happy to write dialogue.
To see talented people in roles that others might not see them in, to see how they might fit in the puzzle of the cast, has always been something that I've been good at. I think that if you look at the successes of my films and start to peel them back, there's usually a really smart casting decision that has gone into that success.
Related Authors
Ai Weiwei Quotes
Chinese
Artist
Andy Warhol Quotes
American
Artist
Claude Monet Quotes
French
Artist
David Hockney Quotes
English
Artist
Gerhard Richter Quotes
German
Artist
Henri Matisse Quotes
French
Artist
Kehinde Wiley Quotes
American
Artist
Leonardo da Vinci Quotes
Italian
Artist
Marcel Duchamp Quotes
French
Artist
Marina Abramovic Quotes
Serbian
Artist
Maurice Sendak Quotes
American
Artist
Michelangelo Quotes
Italian
Artist
Paul Cezanne Quotes
French
Artist
Robert Genn Quotes
Canadian
Artist
Robert Henri Quotes
American
Artist
Yoko Ono Quotes
American
Artist