A Quote by Marlon Wayans
I'm good at coming up with wacky characters and funny dialogue.
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For sure, you don't believe the good stuff. I mean, the good stuff is just insane - wacky. If you don't take it too much to heart, it does help when the negative stuff hits. And you know the negative stuff is coming. It's got to! What comes up must come down.
If you try to deliver a funny line in a funny way, it comes out as wacky and you ruin the scene.
What I like and find liberating in dialogue comedy is that the characters, and what they say, are not me. These are fleeting thoughts and observations and not presented as truths but as something that illuminates the character and the dynamic between the characters. This kind of dialogue is thesis and antithesis - and we never get to a synthesis.
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.
I was doing this really wacky sketch comedy but at the same time writing these dark, cerebral plays about characters coming to grips with their loneliness and heartbreak. My dream job has always been a way to combine the two. I would say 'BoJack Horseman' is the culmination of all of that.
My father was a screenwriter, and I kind of grew up in that world. I always had a mind for characters and dialogue, and my head was filled with that stuff, so it seemed like a good place to start.
Being funny with a funny voice is more my comfort zone, a broader character that I try to humanize, a kind of silly or wacky persona that I try to fill in.
I like shows where the female characters are as funny as the male characters, not just commenting on how funny the male characters are.
If I'm doing my job right, then I'm not writing the dialogue; the characters are saying the dialogue, and I'm just jotting it down.
One of our jobs is to keep women working, which we do by keeping women coming to the movies. And doing that means making good, smart, often funny movies that women can identify with-with terrific dialogue we all remember and cherish, and stories that illuminate our lives and decisions and turning points.
'The Decay Of Lying' is a very interesting treatise. It was actually penned as a dialogue between two characters, Cyril and Vyvyan, both of who were named after Wilde's sons. Wilde goes on to extrapolate art as a science and as a social pleasure, to its most logical and illogical extremes, and it ends up being very funny, indeed.
I like to say good dialogue is a million times easier to memorize than bad dialogue - difficult good dialogue, even if it's difficult. Aaron Sorkin dialogue is easier to memorize, even though it's wildly complicated.
I'm willing to give Pat Robertson a pass when he says things he shouldn't. That's because for every wacky, regrettable thing he says, he does a hundred thousand non-wacky good things that you'll never hear about on television.
I would say, A, you can't really teach anyone how to write good characters, because it's something you have to teach yourself or already have innately in you as a storyteller, and, B, coming up with a good screenplay is a very, very small fraction of what it takes to be a good screenwriter.
'White Teeth' has far too many characters, and its plot is tortured. But Smith has an astonishing intellect. She writes sharp dialogue for every age and race - and she's funny as hell.
I think there's a lack of really, really good funny scripts out there that work on all the levels that they're supposed to - which is to say that they're not just funny but they have interesting characters that people are going to like and be invested in. I've done a bunch of movies that haven't worked but I like to think I've done some that have worked and that's because not only is the comedy there but the characters and storylines are interesting. The characters are real and relateable and people were invested in them.
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