Dialogue Quotes
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I desire to have a dialogue that's positive, and communicative and moves forward, and is about something real, not just consumption.
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I don't really believe in dialogue; I am too Nietzschean for that. We need to have a warrior conception of philosophy.
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My Chinese friends often use the term 'win-win' -- this helps sum up the prevailing spirit of dialogue and cooperation that I admire with all my heart.
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Dialogue is the basis of Indian culture, and we don't want to make any enemies. Political and ideological adversaries, perhaps, but not enemies.
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Differences in approaches do exist, and in one short moment it is impossible to overcome all of them, but i'm convinced ahead of us we have a constructive dialogue.
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Hillary Clinton is got to make the case for herself that nobody else can make, and for voters to see somebody who looks more three-dimensional, that's not simply a caricature that had been sort of a part of the American dialogue for the last 25 years.
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Dialogue that's distinctive, funny, peculiar, and specific is the main thing that makes me want to get involved with a film to begin with.
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I think a commission set up to examine slavery and the consequences of it, would probably be a very fruitful, important dialogue for the United States to be involved in.
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Eyes are the greatest tool in film. Mr. Capra taught me that. Sure it's nice to say very good dialogue, if you can get it. But great movie acting - watch the eyes!
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I think “The Book of Mormon” has made that difference in its field. It changed the game. It’s something that 20 years from now people will still be talking about, hopefully. That’s my goal as an artist, as a creator, as a work for hire, is to choose projects that make people think, make people talk, and make people interested in having a dialogue.
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In fiction, I have a residual guilt when I focus on story over language or mood or whatever - the more "literary" things. In screenwriting, I don't have that guilt because story is the only thing. Character, dialogue, everything else - they feed into and drive story.
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When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.
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Continuous present is all we have, and stream of consciousness - which in a novel is arguably just as artificial as the stilted dialogue that you get in most conventional novels. They're all stratagems to try to get closer to the texture of lived life.
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This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.
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When I decided to stop using quotation marks, it presented technical challenges: you have to conceive of dialogue differently and structure it differently for this to work. So I had a new problem, which makes writing interesting again.
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First and foremost, note that Plato always wrote dialogues, and never attempted to produce a theoretical or scientific treatise. This is a big clue for me. From beginning to end, Plato was aware of the limits of theoretical and technical reasoning, and his dialogues are a massive exploration.
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Stand-up is more of an organic process. An imagined dialogue with the audience.
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The problem with television isn't the number of horizontal scanning lines. It's the lines of dialogue spoken by the actors.
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The good dialogue writer is the one who can give you the impression of real speech.
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It is wrong to turn a man (a subject) into a thing (an object). By means of spiritual dialogue, the I-It relationship becomes an I-Thou relationship. God comes and goes in man's soul. And men come and go in each other's souls. Sometimes they come and go in each other's beds, too.
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Most people are ready to take the dialogue forward. The only place where that is not the case is the administration.
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I think it’s about communicating with a person in that moment. It’s the exchange, it’s the dialogue that you’re able to have with that person in that moment.
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Many of my all-time favorite movies are almost entirely verbal. The entire plot of My Dinner with Andre is “Wallace Shawn and Andre Gregory eat dinner.” The entire plot of Before Sunrise is “Ethan Hawke and Julie Delpy walk around Vienna.” But the dialogue takes us everywhere, and as Roger Ebert notes, of My Dinner with Andre, these films may be paradoxically among the most visually stimulating in the history of the cinema...
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Dialogue is used to reveal not what we want to say, but what we are trying to hide.
