Quotes About Subtext

Some conversations are not about what they're about.

The reader may not see [these meanings], but they have their effect on him nonetheless. This is the way the modern novelist sinks, or hides his theme

We were in dialogue that was about something other than what we were saying.

The most important thing in communication is hearing what isn't being said.

The essence of Christianity is told us in the Garden of Eden history. The fruit that was forbidden was on the tree of knowledge. The subtext is, 'All the suffering you have is because you wanted to find out what was going on. You could be in the Garden of Eden if you had just kept your fucking mouth shut and hadn't asked any questions.

The way you can see what an actor brings to a role is you turn the sound off. Everything else becomes subtext, the wink and the nod, and the attitude and all that kind of stuff is a little easier to see with the sound off.

I would say what Mad Men has taught me has been a super elevated evaluation of text in general, and understanding subtext, and understanding where a character comes from - what he means by this or by that.

I like to really know what every scene is about, what the text is, what the subtext is. Then I figure out how to express that when I'm shooting.

If you look at Kirsten Dunst's performance in 'Melancholia,' which I think is absolutely wonderful - it's not even in the text, because she doesn't say much; it's all in her eyes. She doesn't have to explain what she's feeling. You just feel it.

Personally, I don't think we could do such a show if we didn't get along. The subtext of all this is that we're women in a show so we can't possibly get along. It's not like they write about The Sopranos like that.

A work has two levels of meaning: literal and concealed.

language is never innocent.

A good film script should be able to do completely without dialogue.

A writer should bury his thoughts deep and convey them through the characters in his novel.

It's like our relationship is always about the other side that isn't the obvious side.

Don't put it into words. Let us leave some things to be understood, not said.

good dialogue encompasses both what is said and what is not said.

And the air was full of Thoughts and Things to Say. But at times like these, only the Small Things are ever said. Big Things lurk unsaid inside.

Yes, said Mr. Casaubon, with that peculiar pitch of voice which makes the word half a negative.

With Bound, we wanted to pull at conventions, because you begin to wonder, Why do these stereotypes exist? Where do they come from? You use that as the subtext.

Here you go, dear."" The corners of Mrs. Colbert's mouth curled up. "You like meat, don't you?" Emily blinked. Was it her, or did that statement seem...loaded? She checked Issac for his reaction, but he was innocently selecting a roll from a wicker basket. "Uh, thanks." Emily said, pulling the platter toward her. She did like meat. The kind you, um, eat.

Under the glitzy, glamorous surface of the simplest popcorn flick, there were often hidden depths of meaning.

There is so much in a turn of the eye and in the tone given to a word when such things have to be said,—so much more of importance than in the words themselves.

In an age of scarcity, that easy option no longer exists, and social conflicts heat up rapidly. That's the unmentioned subtext for much of what's going on in politics on both sides of the Atlantic just now. The