A Quote by Stephen King

It's dialogue that gives your cast their voices, and is crucial in defining their characters. — © Stephen King
It's dialogue that gives your cast their voices, and is crucial in defining their characters.
When you're writing a pilot, unless you already have an actor attached to the project, you're writing it with all the voices sort of in your head. Once you actually cast it, the actors become the voices of the characters, and you start to write for them and their strengths.
Dialogue comes naturally to me and I can hear the characters' voices in the scenes.
The most crucial thing is to learn the craft: how to string sentences together, how to make your dialogue sound like real people, how to properly pace a story, how to develop interesting characters.
There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.
The concept of the characters in animal skins and us satirizing modern technology made it fun. But the voices we cast and the characterization of Fred Flintstone had a lot to do with it.
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.
When you write for a show that's not yours, your job is to hear the voices of the characters and write as best you can for those voices.
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.
Night Owls is a fast, fun read that kept me turning the pages. Lauren M. Roy delivers a plot that zips, dialogue that zings, and a cast of characters you'll cheer for to the very end. Thumbs up!
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.
There aren't any real dumb people in my voices. It's always irritated me about Hollywood dialogue - there's so much dialogue that would just bore a Ford mechanic. This is not how people talk.
I think it's definitely beneficial for these characters to have good acting voices behind them and it affects the characters in a way that people can feel like they're part of the game and that they know these characters.
Television, although It's in steep decline, still occasionally gives voices to people who don't have voices.
Every drama requires a cast. The cast may be so huge, as in Leo Tolstoy's 'Anna Karenina,' that the author or editor provides a list of characters to keep them straight. Or it may be an intimate cast of two.
Don't spend most of your time on the voices that don't count, voices that are going to add too little worth to your future. Don't waste time on the shallow and the silly. Tune those voices out and tune in voices that are going to add something to your life
Managing through ambiguity can be difficult for even the most experienced leaders. Defining a clear set of goals for your team demonstrates that there is an end in sight. However, it's crucial during this time to move through the transition in phases.
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