Quotes About Dialogue

It doesn't sound rational for a Klansman to sit down to dinner with a black man. What you're overlooking is, to be racist is to be irrational. So, they are already irrational, and irrational people do irrational things. That's why a Klansman will sit down with me.

When the drama attains a characterization which makes the play a revelation of human conduct and a dialogue which characterizes yet pleases for itself, we reach dramatic literature.

The P.C. police are out in force at all times... We've reached a point where people are actually afraid to talk about what they want to say.

I prefer to express myself physically, or non-verbally. I prefer just to react without having a lot of dialogue.

With any character I have played, there's infinite possibilities for how they might behave, depending on who they are talking to or how they react to things.

When you are doing a long scene, you have dialogue and interaction to narrate the character. But making sense out of facial expression and reacting is difficult. Having said that, I think such challenges are good for learning.

The Bible - it's sort of the other person in the room. There's this book, the reader, and the Bible.

Writing a novel is an intense and lonely business, but you have the reward at the end of a very direct dialogue between you and the reader.

Dialogue is the place that books are most alive and forge the most direct connection with readers. It is also where we as writers discover our characters and allow them to become real.

A book is always a dialogue with other readers and other books.

One decision I made in writing 'Henry and Clara' was that I would keep Lincoln's appearances and any dialogue by him to an absolute minimum, because I think readers don't quite believe it when novelists have Lincoln walking around and saying things. They just know they're in the presence of stage machinery.

I think a lot of readers are looking for a book they can talk about.

The columnists have a very personal relationship with their readers, and the readers deserve to hear directly from the columnists.

If readers tell you that stretches of dialogue or narrative were too long, that they couldn't tell who was talking, that's something that can be fixed.

For a lot of readers these days, a book is something you have to agree or disagree with. But you can't agree with a novel. For my generation, it was assumed that a book is a dramatic thing, that the eye of the book is not telling you what to think.

I feel any actor can deliver a dialogue but real acting is how one reacts to the dialogue.

I don't want to write lines where characters tell me exactly how they feel; I want to see people talk about anything but their feelings, like they do in real life.

I'm very comfortable with an R-rating. I feel like it sounds like what people talk like in real life; I think it's more real to me.

If you read scripts, you would see people rarely speak like that in real life, in complete sentences.

The 'Islam vs. the West' dialogue ceased to be about real people a long time ago.

I'm desperate to be in the same room as Katie Hopkins. There are a few things I'd like to say to her, really calmly. I'd just like to put forward a case for her to integrate the 'her' that she pretends to be on TV with the 'her' she is as a real person.

I'm not good at dialogue. I'm not good at holding a mirror up at a real world. I'm not good at believable characterisation.

What people don't realise is that it is the script which plays the most important factor in making or breaking a chemistry.

I started in '69 to have psychoanalysis, and I realised very soon that I was changing, and that's I think why my movies were changing. They became much more open to dialogue.