A Quote by Michael Connelly

As a reporter, you develop an ear for dialogue because it's your job to capture it accurately. — © Michael Connelly
As a reporter, you develop an ear for dialogue because it's your job to capture it accurately.
I made a sort-of living in the beginning of my acting career as a reporter. I think my very first job was 'Early Edition' as reporter no. 1, and for 'Light It Up,' I was reporter no. 2.
If you have a good ear for dialogue, you just can't help thinking about the way people talk. You're drawn to it. And the obsessive interest in it forces you to develop it. You almost can't help yourself.
My SAG card, the first TV job that I ever had was 'Pan Am' as a reporter. But that may not be entirely true. I did some motion capture work, doing reshoots on a video game.
I have never pretended to be a great writer. I am totally immodest about being a great reporter and a good news writer. I write fast and I write accurately, nearly as accurately as anybody can be, and that's my skill.
I didn't go to university. They offered me a job as a junior reporter and I went off to work for the Southern Reporter. They sent me to college to do my NCTJ, which is a professional exam for journalists, and I started work as a print journalist purely because I was just a pest. They couldn't think of anything other than giving me a job to stop me hanging around.
My first job ever real job in the field was as an airborne traffic reporter and producer in Los Angeles, but I was laid off pretty quickly - which was totally fair, because I'm terrible with directions, and that's kind of the whole job.
I did not develop my ear. I discovered I had an ear, and it was an accident.
People ask me, "What are you going to do to develop jobs in your state?" Well, that's not my job as a US senator to bring industry to the state. That's the lieutenant governor's job, that's your state senators' and assemblymen's job. That's your secretary of state's job, to make a climate in the state that says, 'Y'all come.'
Even if you had the wherewithal to embarrass a reporter, there was no mechanism to do it. And in most cases, you might as well save your breath because the reporter had no shame anyway.
I never wanted to be a reporter. I took a job at the New York Post as a clerk because I couldn't get a job in magazines, which is what I really wanted to do.
A police reporter walks into the worst moment in someone's life on every single story that he covers. It's not like being a sports reporter. That's a great job and all that and takes certain skills. But, you know, they're glad to see you when you show up to cover the football game. Nobody is ever glad to see a police reporter when he shows up.
I landed a job with Roger Corman. The job was to write the English dialogue for a Russian science fiction picture. I didn't speak any Russian. He didn't care whether I could understand what they were saying; he wanted me to make up dialogue.
When we did the first 'Uncharted,' we weren't able to capture the audio with the performances. We would go back and do A.D.R. - Automated Dialogue Replacement - in which you would hear yourself and then repeat your line. Even when we were doing that, there was a slight disconnect because you were trying to recreate a performance.
As an investigative reporter, I'm trying to uncover things and expose them to create a dialogue.
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.
My first film role was a reporter. It's funny, because my father was a news reporter. I always thought there was something strange about that.
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