A Quote by Kate Hudson
The dialogue is out there, the veil has been lifted. We all know that there's a ways to go. We're still fighting uphill battles, and you just have to hone in on making change, one dialogue at a time, one course of action at a time.
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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.
We have been making constant efforts, all the time, to start dialogue with the SLORC, but you know it takes two. We don't want a monologue. We would like a substantive political dialogue among the SLORC, political leaders including myself, and leaders of ethnic groups-exactly as stipulated in the U.N. General Assembly resolution on Burma.
I treat any scene the same - dialogue, action - you're still creating something in character. It's all acting, fighting.
Readers take in dialogue one thought at a time. A frequent mistake of beginners is to combine thoughts, which may be suitable for other forms of writing but not for dialogue. Another mistake is speechifying. Three sentences at a time is tops, yet many beginners write speeches that go on and on.
I still haven't quite caught on to the idea of writing without dialogue. I like writing dialogue, and there's nothing wrong with dialogue in movies.
I try to stay away from stuff that's just action, action, action, action, action, and you kind of fast-forward through the dialogue scenes. I'm not interested in doing that. Give me a reason to fight, and I'll go there. But don't just make it, 'You touched my pen! Haaa-yah!' I've done that before.
The whole idea of action being a carrier of information is something that comes directly from theater. That's, in some ways, the one thing I've been trying to contribute. I still write things outside of architecture - not really fiction, but not nonfiction. I like dialogue as a form, because the text is only the trace of an action. The consequential information is carried in the action you choose to put on that text.
With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue... I think expositional dialogue is quite crass and not like real life.
Dialogue's a method of revelation, of course. A few words of dialogue can reveal worlds about a character.
Writers are born, not made. We can hone the craft. We need to try to encourage someone and make a dialogue, suggesting ways to do something differently or how to improve.
The biblical story is in dialogue with the other stories of its time. And if the Bible can be in dialogue with other cultures, why can't the people who are descendants of the Bible be in dialogue with other cultures?
Going from 'Dexter' to 'Powerpuff,' there was a lot of dialogue, there was a lot of... you know, we did action, of course, but I was getting burned out on the words, and both shows had this big, thick black outline.
What's great about theater and drama is it thrives on dialogue, and dialogue thrives on people with different points of view fighting for what they want.
I love dialogue, but I'm also terrified of it. In all my movies, I've done my best to cut out as much dialogue as possible. I love the spaces in those silences. Even in 'Pete's Dragon,' I was so happy that the first twenty minutes have about five or six lines of dialogue.
Rather than make claims of final theories, perhaps we should focus on our ever-continuing dialogue with the universe. It is the dialogue that matters most, not its imagined end. It is the sacred act of inquiry wherein we gently trace the experienced outlines of an ever-greater whole. It is the dialogue that lets the brilliance of the diamond’s infinite facets shine clearly. It is the dialogue that instills within us a power and capacity that is, and always has been, saturated with meaning.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
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