A Quote by Sam Shepard
Dialogue is like jazz. Dialogue is creative.
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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.
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.
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.
I like to say good dialogue is a million times easier to memorize than bad dialogue - difficult good dialogue, even if it's difficult. Aaron Sorkin dialogue is easier to memorize, even though it's wildly complicated.
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.
I hate it when I'm reading a comic, and the dialogue looks like stickers stuck on top to explain what's going on. For me the best is when your eye goes in a certain point and moves through the composition and then springs out on the dialogue, or gets confused in the image and then goes to the dialogue for an explanation.
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'm aware that dialogue isn't my strength. I use it as a device. I don't particularly like dialogue which is part of the problem.
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.
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.
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.
On the whole, dialogue is the most difficult thing, without any doubt. It's very difficult, unfortunately. You have to detach yourself from the notion of a lifelike quality. You see, actually lifelike, tape-recorded dialogue like this has very little to do with good novel dialogue. It's a matter of getting that awful tyranny of mimesis out of your mind, which is difficult.
I like writing dialogue - I can hear my characters so clearly that writing dialogue often feels as much like transcribing something as it does like creating it.
Interreligious dialogue is extremely important for religious people as well as secular people or non-believers. They should participate, and they should be encouraged to have interreligious dialogue, because dialogue is a channel or an instrument to promote intimacy between individual.
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.
Each piece of dialogue MUST be "something happening". . .The "amusing" for its OWN sake should above all be censored. . .The functional use of dialogue for the plot must be the first thing in the writer's mind. Where functional usefulness cannot be established, dialogue must be left out.
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