A Quote by Wendell Pierce
The whole idea of jazz came about was the interpretation of the human dialogue, trading fours. When someone's soloing and someone picks up the solo and plays it back at 'em, it was the imitation of the human dialogue. It was how people spoke, through music.
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In classical music, love is based on bitin' -- imitation. It's not based on interpretation. A jazz musician, if he plays someone else's song, has a responsibility to make a distinct and original statement.
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.
Jazz is really about the human experience. It’s about the ability of human beings to take the worst of circumstances and struggles and turn it into something creative and constructive. That’s something that’s built into the fiber of every human being. And I think that’s why people can respond to it. They feel the freedom in it. And the attributes of jazz are also admirable. It’s about dialogue. It’s about sharing. And teamwork. It’s in the moment, and it's nonjudgmental.
People learn racism through dialogue. Somebody tells them about it. So if you can learn it through dialogue, you can also unlearn it through dialogue.
I think we should be very clear on this. You know, this country was founded on the principles of the Enlightenment... It was the idea that people could talk, reason, have dialogue, discuss the issues. It wasn't founded on the idea that someone would get struck by a divine inspiration and know everything right from wrong. I mean, people who founded this country had religion, they had strong beliefs, but they believed in reason, in dialogue, in civil discourse. We can't lose that in this country. We've got to get it back.
I think if I'm serious about affecting people with music, I have to affect people on a human to human level, not on a grand social idea or political idea, it has to be a human being idea so it has to be what's inside a human being.
I still haven't quite caught on to the idea of writing without dialogue. I like writing dialogue, and there's nothing wrong with dialogue in movies.
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.
All appeals to Scripture are appeals to interpretations of Scripture. The only real question is: whose interpretation? People with differing interpretations of Scripture cannot set a Bible on a table and ask it to resolve their differences. In order for the Scripture to function as an authority, it must be read and interpreted by someone. According to "solo" Scriptura, that someone is each individual, so ultimately, there are as many final authorities as there are human interpreters.
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.
Dialogue is like jazz. Dialogue is creative.
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.
So long as human history continues, we will face the perennial challenge of realizing, maintaining and strengthening peace through dialogue, of making dialogue the sure and certain path to peace. We must uphold and proclaim this conviction without cease, whatever coldly knowing smiles or cynical critiques may greet us.
When you translate the American writers who are best with dialogue into German - someone like Elmore Leonard, or Tom Wolfe, who's also quite good with dialogue. It's very hard to translate them well.
You have to listen to what someone is doing and help them get to where they want to go, musically speaking. I play a supporting role if someone else is soloing, and a guitarist will do the same for me while I am soloing.
Rather than make claims of final theories, perhaps we should focus on our ever-continuing dialogue with the universe. It is the dialogue that matters most, not its imagined end. It is the sacred act of inquiry wherein we gently trace the experienced outlines of an ever-greater whole. It is the dialogue that lets the brilliance of the diamond’s infinite facets shine clearly. It is the dialogue that instills within us a power and capacity that is, and always has been, saturated with meaning.
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