A Quote by Usher
Artists who are relevant today won't be tomorrow unless someone does the right thing by their character and preserves it in the dialogue of a movie.
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Business models that are relevant today are not relevant tomorrow and were not in existence yesterday.
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.
Fame is an illusive thing - here today, gone tomorrow. The fickle, shallow mob raises its heroes to the pinnacle of approval today and hurls them into oblivion tomorrow at the slightest whim; cheers today, hisses tomorrow; utter forgetfulness in a few months.
The flame will cool tomorrow, or the day after tomorrow.... But someone must see this already today, and speak heretically today about tomorrow. Heretics are the only (bitter) remedy against the entropy of human thought.
I say this in the book [Today Matters], we either spend our day repairing or preparing, and if I haven't taken good care of my today's, they accumulate. So all of a sudden today what I'm doing is I'm going back, I'm repairing bad relationships and wrong decisions, and I'm digging a hole. I'm not making any progress because I'm in a repairing mode, versus if I really make today count that prepares me for tomorrow. Tomorrow really will take care of itself if I do the right thing today.
One thing I've learned as an actor as well as a producer is to trust my own instinct. When I first started acting I would sometimes have ideas about certain things, whether it's a scene, or a character or certain dialogue, that wouldn't be followed. I was never in a position to have the power to press the matter. Sometimes it wasn't even about my character. But I'd watch the movie afterwards and think I was right.
The relevant question is not simply what shall we do tomorrow, but rather what shall we do today in order to get ready for tomorrow.
Relevance is kind of a weird thing. If one does topical material, it makes sense to want to be relevant. But if someone talks about donut sprinkles, it's not quite as important. Unless the U.S. Supreme Court makes a decision outlawing donut sprinkles.
Tomorrow's character is made out of today's thoughts. Temptation may come suddenly, but sin does not.
I love the movie 'Taken,' but the dialogue in the beginning of that movie is hilarious. They're talking, these commando types, and there's dialogue like, 'Hopefully your daughter appreciates what you're doing for her. Does she know that you're doing it?' What guys talk like this?
To help [people] understand that what you shortcut today, cannot be made up tomorrow. So it's like, I'm not going to do anything today, and I'm going to do the wrong thing today and somehow tomorrow it will get a lot better."
Today we love what tomorrow we hate, today we seek what tomorrow we shun, today we desire what tomorrow we fear, nay, even tremble at the apprehensions of.
'My character wouldn't do that.' That was always my favorite thing people say: 'My character wouldn't do that.' I said, 'Well, it says right here in this script your character does that.'
'Never put off tomorrow what you can do today.' Under the influence of this pestilent morality, I am forever letting tomorrow's work slop into today's and doing painfully and nervously today what I could do quickly and easily tomorrow.
What must novel dialogue . . . really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique.
All we can do to prepare rightly for tomorrow is to do the right thing today.
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