A Quote by Ving Rhames

I don't need dialogue to convey emotion or thoughts to my audience. — © Ving Rhames
I don't need dialogue to convey emotion or thoughts to my audience.
I recently read in the book My Stroke of Insight by brain scientist Jill Bolte Taylor that the natural life span of an emotion—the average time it takes for it to move through the nervous system and body—is only a minute and a half. After that we need thoughts to keep the emotion rolling. So if we wonder why we lock into painful emotional states like anxiety, depression, or rage, we need look no further than our own endless stream of inner dialogue.
You need to understand the meaning of the dialogue to be able to convey it right. You need to know it to understand the nuances of the scene.
The audience wants to be attracted not by the critics, but by a great story. You must deliver to the audience emotion - and when I say emotion, I mean suspense, drama, love.
Brush and ink are only servants of thoughts and emotion. They should follow your emotion and change with the emotion.
To make our communications more effective, we need to shift our thinking from "What information do I need to convey?" to "What questions do I want my audience to ask?
As an artist who performs on the stage, I try to express my feelings and convey my inner thoughts through the looks I give the audience. So, I tend to focus on making sure that my makeup highlights my eyes properly.
With voice over work, you need to convey as much emotion as you can without making any physical movements, so it's hard. You've got to visualize everything.
When it came to eliciting a reaction from an audience, especially at the time, I think Ric Flair is the guy who is constantly up there. Especially when you talk about speaking with passion and being able to convey a ton of emotion with his words and his body language.
My goal is to strip things down so that you need just the right amount of words or shape to convey what you need to convey. I like editing. I like it very tight.
We need to hear everyone. We need dialogue between police and the community. They're angry. They're hurt. A dialogue can cause a shift in consciousness in the person if he's understanding you and listening.
The hardest thing to get is true emotion. I always believe you need to earn that with the audience. You can't just tell them ok, be sad now. Humor, you can add. Even to the last minute you can be adding little bits of humor. But the true earned emotion is something that you really have to craft.
Emotion is more than just anger. When I am performing, I need emotion, but I need control, too. Emotion drives the best performance and is necessary, but it must be controlled. I believe Fedor [Emelianenko] does that. I do too. We may look different in how we do it, but we both do it.
I write because I need to share my thoughts with the audience.
When you're doing those operation scenes, you not only have to be on top of the dialogue and the rhythm of the dialogue and what's happening dramatically, but you've got to technically get the rhythm right, so that everything is fitting with the dialogue at the right time. And you're performing the operation to the audience that's watching it. Thackery has to present it, as well. In some ways, that's the most challenging.
If you have just an emotion, you would not necessarily feel it. To feel an emotion, you need to represent in the brain in structures that are actually different from the structures that lead to the emotion, what is going on in the organs when you're having the emotion.
Dialogue should convey a sense of spontaneity but eliminate the repetitiveness of real talk.
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