A Quote by Robert Benton
Movies without meaningful dialogue play well all over the world. The Apostle is probably the best movie of the year, but it won't do squat in Korea.
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I believe Korea is making the best movies. Only in Korea - you can do whatever you want to without any rating system or whatever. They can make world-class karate movies and make lots of money, which is very important.
Well, it's like my movie, 'The Apostle.' Some people in the North don't get that movie. They think that, in the South, if you don't shout, you can't play one of those guys.
Analyses of the movie marketplace points to an interesting phenomenon: High-profile movies are continuing to do well year-to-year in the U.S. and overseas - this past summer, for example, the top 10 movies registered at the same level as in '04.
The year 2015 was a year of gigantic struggle, which is adorned with meaningful events and eye-opening successes, a year of victory and glory, in which socialist Korea fully demonstrated its prestige and might.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
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.
It's not easy to play your best for 40 weeks. It happens every year, I don't play well in Rome or Hamburg -- I don't know why -- but then I play well after that.
Living with a nuclear North Korea could give its leaders the confidence to act more aggressively versus South Korea. It could also, over time, drive both South Korea and Japan, as well as countries farther afield such as Vietnam, to reconsider their non-nuclear postures. The stability of a critical region of the world would suddenly be in doubt.
When it comes to dialogue between South and North Korea and between the United States and North Korea, these can go on parallel tracks. South Korea and the United States can each play a role.
Nowadays the movies that people are going to see in the theaters are the big-event movies, like Spider-Man or something, or they're 25-year-old models who are vampires, or they're very broad comedies, or they're standard action movies. So if you're going to work for a studio and do a movie for the budget that the movie needs, those are the kinds of movies you'll be in.
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.
People say 'Scott's [Derrickson] movies are kind of scary, is this a horror movie?' Of course, [Doctor Strange] it's not a horror movie. But what Scott has done so well in the best of his films is have one foot completely in the real world and one foot in this whatever supernatural sub-genre he was playing with.
One of the best movies of the year was 'Rise of the Planet of the Apes.' That's not just an action movie - it's a prison film.
It's hard to really get that excited about movies. Think about it like this: how many good comedy movies come out a year? Maybe one or two? And then, in those movies, what are the chances that there's a character that I'm the best fit to play? It's really small!
By the way, movies are like sporting events in that you're as good as the movie you're in. You can sit in a room for 20 years and go do a movie and you can just kill in it and you move to the head of the line again. By the same token, you can do five movies a year and if they're dreck, it's nothing.
You just make the best movie you can and hope for the best, because you don't have any control over what happens with the movie, whether the movie is misinterpreted.
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