A Quote by Jesse Eisenberg
As an actor, you are in a unique position because you’re not only memorizing dialogue but really embodying it. You naturally feel the rhythm of good writing.
Related Quotes
As an actor, you are in a unique position because you're not only memorizing dialogue but really embodying it. You naturally feel the rhythm of good writing.
I'm very much aware in the writing of dialogue, or even in the narrative too, of a rhythm. There has to be a rhythm with it … Interviewers have said, you like jazz, don’t you? Because we can hear it in your writing. And I thought that was a compliment.
I think a lot of people are very good, but I don't think anybody could do my rhythm. I was thinking, "If you want my rhythm" - and when I was writing, I was writing them for myself - "why am I watching another actor doing what I should be doing?" It was just a really unpleasant experience.
When you're doing those operation scenes, you not only have to be on top of the dialogue and the rhythm of the dialogue and what's happening dramatically, but you've got to technically get the rhythm right, so that everything is fitting with the dialogue at the right time. And you're performing the operation to the audience that's watching it. Thackery has to present it, as well. In some ways, that's the most challenging.
I'm a great believer in conversational rhythm. I think in terms of rhythmic dialogue. It's so easy, you can talk naturally. It's like peas rolling off a knife. Take the great screen actors and actresses, Bette Davis, Eddie Robinson, Jimmy Cagney, Spencer Tracy. They all talk in rhythm. And rhythm and movement are the life of the screen.
You can make bad writing 'OK,' but... you really need to start with a good script and with characters that are three-dimensional and with great dialogue. It's a difficult lesson to learn because good writing is hard to come by, but it's definitely worth chasing.
If the script's good, everything you need is in there. I just try and feel it, and do it honestly. I also don't learn things for auditions, because I feel like it's just a test of memorizing rather than being real. Maybe every other actor would think that was terrible, I don't know. But it seems to have worked for me, so far.
I write plays because writing dialogue is the only respectable way of contradicting yourself. I put a position, rebut it, refute the rebuttal, and rebut the refutation.
And dialogue, I'm good at it, and it's because it's the only thing you have to work with in TV writing.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
Noah Baumbach writing is really wonderful. I think the way he plays out each character with a unique voice is really impressive, and rhythmically his dialogue works.
Also a good director and good dialogue. That's very important because you're bringing the words to life. So it's very important for an actor to have good dialogue.
There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
Nintendo has been a very unique company because it's not just hardware but also one of the major software publishers. Because it is in a unique position, it's given us a unique advantage.
At its best, writing is a dialogue. It's one of the things I love about children's: the fact that this dialogue is really there from the get-go, from the start of writing.
There's often rarely any dialogue in a sex scene. With your fellow actor, it's good to talk about what the unspoken dialogue is, that's happening in the scene. You've got to play something rather than feel self-conscious or exposed.
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