A Quote by Theresa Rebeck
The movies are all about visual, and television is all about character and dialogue.
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I think that because television is shot on a really fast schedule, and it gets piped into your home on a smaller screen, it's much more about character and dialogue in a lot of cases than the movies are.
Movies like that aren't about the visual effects and explosions. They're human stories about family, about life, about death.
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.
Dialogue's a method of revelation, of course. A few words of dialogue can reveal worlds about a character.
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.
I'm very much into the costuming of any character that I portray and it's one of the great things about making movies is it's a collaborative art form so you get all these artists who are looking specifically about for this instance your character's costume and what that might tell about your character.
In the 1950s we use to feel that television was taking away our comic readership; with today's exciting, powerfully visual movies I have to wonder about their effect on the kids' loyalty to the comic book medium all over again.
I describe television as feminine and movies as masculine, in the sense that television wants to examine a problem from all sides and talk about it for a long time, and movies just want to hit the climax and then maybe have a smoke.
This is one of the things I don't like so much about French cinema - we have tendency to concentrate on actors and dialogue and we don't care so much about the visual aspect. I love when you use all the elements at your disposal.
There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
I don't speak with proper grammar. I don't speak with dialogue attribution. I don't speak with quotation. I don't care about any of that stuff. It's about rhythm, and it's about what's in their [the character's] head, and what feels more natural. And it's about speed. I want things to move.
You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.
Even in 2012, if there's a black character in the movies or on television that's a professional, if we even hear about their backgrounds they're always 'up from the streets.'
Even in 2012, if there's a black character in the movies or on television that's a professional, if we even hear about their backgrounds they're always 'up from the streets.
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!
When we think about a great movie, I mean, what do we think about? We think about story, we think about character. And when the visual effects aren't perfect, we forgive it.
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