Quotes About Dialogue

We move sometimes. We send messages to each other. We talk on the phone. Tell me, what can we do?

I mean normally you have your agent call the other agent and all the agents talk and then finally you get a phone call and you hear some misrepresentation of what someone else had to say.

Scenes on phones are really boring!

I'm over the word 'like' in conversation, and 'you know' seems to be the placeholder of choice, but when I'm writing dialogue, I tend to use those phrases because that's how people talk.

We can't really do any improv on 'The Big Bang' because we don't understand a lot of what the dialogue means to begin with, because of the physics jargon.

I landed a job with Roger Corman. The job was to write the English dialogue for a Russian science fiction picture. I didn't speak any Russian. He didn't care whether I could understand what they were saying; he wanted me to make up dialogue.

I don't remember anything anybody said in any Jack Ford picture. Nothing happens except action.

A conversation goes sometimes into personal things and that's nicer. You look to each other and you have a different picture, you get into a relationship.

I think film writing, you're thinking in pictures, and stage writing, you're thinking in dialogue. In film writing, it's also, you only get so many words, so everything has to earn its place in a really economical way. I think for stage writing, you have more leeway.

It's important for people to talk and get beyond the wall of Facebook and social media.

In books, you can just wallow in dialogue, and you can just wallow in written words. In screenplays, every line has to serve the purpose of the line that's implied before it and the line that's implied after it. Maybe five lines have to do the work of fifty lines.

You say to a brick, 'What do you want, brick?' And brick says to you, 'I like an arch.' And you say to brick, 'Look, I want one, too, but arches are expensive and I can use a concrete lintel.' And then you say: 'What do you think of that, brick?' Brick says: 'I like an arch.'

Two people in a conversation amount to four people talking. The four are what one person says, what he really wanted to say, what his listener heard, and what he thought he heard.

We're living in a time where I think most people are wanting someone to invite them respectfully to a policy position, not try to just slash and burn the other person.

Cameron Crowe can write dialogue and shoot it with warmth and humor like nobody else.

When somebody says, 'Oh, Buffy, you're such a warrior for peace', I stop them and say, 'No, I'm not really a warrior for peace. What I promote is alternative conflict resolution'.

Playing the greatest warrior in the seven kingdoms, that's absolutely no pressure. It didn't help, during the casting, the director kept saying, 'Remember, you're the most legendary swordsman ever.' I said, 'Great. I'll try and convey that in my four lines of dialogue.'

We need to restart political processes to end wars.

I learned firsthand that there would simply be no wars if people engaged in real conversation.

If the impoverishment and community fragmentation continue, it is not a stretch to predict urban wars sparked by inequality, unemployment, and the breakdown of dialogue between leaders and citizens.

How was work?" I asked to keep the conversation going. Even if it was a downhill direction, movement was movement.

I tried to explain this to Nadine, but she kept interrupting me.

Some people never really talk about anything—they just repeat the same old sentence from time to time.

The most basic of all human needs is the need to understand and be understood. The best way to understand people is to listen to them.