A Quote by William Monahan
Dialogue is used to reveal not what we want to say, but what we are trying to hide.
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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.
Dialogue's a method of revelation, of course. A few words of dialogue can reveal worlds about a character.
When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. 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.
They were trying to run, trying to hide. But the rock would not hide them; the dead tree gave no shelter.
Surfaces reveal so much. The marks painters make reveal so much about their work and themselves; their sense of proportion, line, and rhythm is more telling than their signature. Looking at the surfaces of nature may offer equivalent revelations. What do these shapes and patterns reveal about the world and their creator? Surfaces hide so much.
Jane Austen, much in advance of her day, was a mistress of the use of the dialogue. She used it as dialogue should be used-to advance the story; not only to show the characters, but to advance.
BoJack especially is a very dialogue based show. A lot of the comedy comes from conversations, and a lot of story comes from misunderstandings and people trying to connect with each other, and there was a really interesting challenge trying to write a script with no dialogue.
My acting teacher used to say that people reveal themselves in their opposites.
Always in all my books I'm trying to reveal or help to reveal the hidden greatness of the small, of the little, of the unknown - and the pettiness of the big.
People can hide behind a computer, they can hide behind a cell phone, they can tweet. They can say whatever they want. I'm not worried about them.
Concentrate on what you want to say to yourself and your friends. Follow your inner moonlight; don't hide the madness. You say what you want to say when you don't care who's listening.
Today, there is no fashion, really. There are just... choices. Women dress today to reveal their personalities. They used to reveal the designer's personality. Until the 70s, women listened to designers. Now women want to do it their own way. There are no boundaries. And without boundaries, there is no fashion.
All my friends make really small, naturalistic, dialogue-heavy movies, so I'm kind of used to that. I didn't want my movie to be rambly and I didn't want it to be cutesy, or quirky, or clever.
I am not the kind to hide the fact that I have used artificial means to hide or correct my features.
You should let dialogue get as nearly out of control as you can. Characters should say what they say to each other instead of what they mean to say. The worst purpose of dialogue is to elicit information: "You know why we're out on this space station, Carruthers - to save the universe!"
We're always trying to avoid being in the darkness, not knowing, and also encountering animals. There's something about them not wanting to be seen; they go out at night, they hide, they don't want to be shown. It's very interesting genetically that they have to hide from us actually. Between themselves, they smell each other, but there is this thing of hiding, of suspicion.
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