A Quote by Sarah Rees Brennan

Real life is sometimes boring, rarely conclusive and boy, does the dialogue need work. — © Sarah Rees Brennan
Real life is sometimes boring, rarely conclusive and boy, does the dialogue need work.
Rarely does a complete idea come to me. I basically start with just a small scene or a snatch of dialogue and force myself to write and to keep writing. Sometimes it becomes a book.
It is conceivable at least that a late generation, such as we presumably are, has particular need of the sketch, in order not to be strangled to death by inherited conceptions which preclude new births.... The sketch has direction, but no ending; the sketch as reflection of a view of life that is no longer conclusive, or is not yet conclusive.
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.
When an acting teacher tells a student 'that wasn't honest work' or 'that didn't seem real,' what does this mean? In life, we are rarely 'truthful' or 'honest' or 'real'. And characters in plays are almost never 'truthful' or 'honest' or 'real'. What exactly do teachers even mean by these words? A more useful question is: What is the story the actor was telling in their work? An actor is always telling a story. We all are telling stories, all the time. Story: that is what it is all about.
To make theater out of real life, you need to catch dialogue when it happens.
As Conchita, I've got everything that I need to be glamourous and in the spotlight, giving interviews, doing photo shoots. And on the other side, there's Tom, this shy, boring boy. And I love to be shy and boring when I'm in private.
This work of connecting our light to the world does not need to be done through a mass movement, or by millions of people. . . .The real work is always done by a small number of individuals. What matters is the level of participation: whether we dare to make a real commitment to the work of the soul.
Life is work, and everything you do is so much more experience. Sometimes you work for wages, sometimes not, but what does anybody make but a living? And whatever you have you must either use or lose.
When I'm doing a movie, I eat the same thing every day. For lunch, it's tuna salad or chicken salad and cole slaw. That's it. For dinner it's either veal and rice, fish and rice or steak and rice. It gets boring; boy, does it get boring.
Life isn't supposed to be an all or nothing battle between misery and bliss. Life isn't supposed to be a battle at all. And when it comes to happiness, well, sometimes life is just okay, sometimes it's comfortable, sometimes wonderful, sometimes boring, sometimes unpleasant. When your day's not perfect, it's not a failure or a terrible loss. It's just another day.
When old Bobby does Elvis, you swear it's the real mccoy. Another Friday night in the life of a country boy.
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.
To learn bad dialogue is so difficult and so boring, and to work with a stupid director who tells you to do the wrong thing, etcetera, it's just unbearable.
Real life happens. Sometimes it's messy. Sometimes it doesn't work.
The return from your work must be the satisfaction which that work brings you and the world's need of that work. With this, life is heaven, or as near heaven as you can get. Without this - with work which you despise, which bores you, and which the world does not need - this life is hell.
Successful fiction does not need to be validated by 'real life'; I cringe whenever a writer is asked how much of a novel is 'real'.
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