Quotes About Monologue

Cinema is a visual language, and you're always looking for visual metaphors for things. You know, if I was writing a play about Howard Hughes, I could have him give a monologue about how he's terrified to touch a doorknob. But on screen, you know, working with Marty Scorsese in 'The Aviator,' that became the series of images that told a story.

Training is vital. You need to know the technical aspects of acting, just in case someone hands you a monologue and simply says, 'Cry here and laugh here.' You have to be able to make sense of it all.

I am in awe of Ruth Draper.

Usually I play people who just keep babbling on and on and on.

the entire story is prefigured in that monologue...

One of the strangest experiences one can have is to sleep on stage, as I once did in Sydney when I'd lost the key to my flat. I had to stay at night in a bed, which conveniently was on stage because my character Sandy Stone did his monologue from a bed. To wake up looking at a shadowy auditorium is a very peculiar feeling.

Never ask a bore a question.

Hitler wouldn't answer to anybody, not even God. He didn't dialogue. His was a monologue. Dialogue involves reason; it requires a willingness to admit there's another opinion. To him, there was no other viewpoint but his.

There was no feeling at all between Joan and me, so I talked about myself. I talked without stopping for two hours about myself, pulling little sounds of understanding out of poor Joan's mouth the way in prison we pulled plates of food from slots in the doors.

When I was about six or seven, I did this character reenactment performance where I read a monologue from 'Peter Pan.' I got into a complete Peter Pan outfit and did a little paragraph from the script - and I ended up winning an award for it.

There is no such thing as conversation. It is an illusion. There are intersecting monologues, that is all.

When I do stand-up, I'm basically doing a one-man show.

You should really treat stand-up like you would a play. It's a one-man play.

If you were an actor, anybody could go on Broadway and take a George Carlin hour and do it on stage as a one man show. They're all stand alone essays.

I'd like to do plays, maybe a one man show.

I realized, "Oh my god, this is an enormous play. And it's almost all me. Big. big chunks of speeches, speeches, speeches." And I started to panic.

A gentleman, nurse, that loves to hear himself talk, and will speak more in a minute than he will stand to in a month.

He doth nothing but talk of his horse.

In a late-night monologue, it's not just about being funny; you have to come off as knowledgeable. You have to cultivate a persona of trust and intelligence and likeability.

He talked about her in a way that only the obsessed do. It was always a pressured monologue, and it was always the same. He had to relate every detail, interpreting and seeking meaning in her every utterance or action, like a fundamentalist minutely analyzing a biblical text.

His lips parted, but long years of experience with Ramses, and to some extent, Emerson, had taught me how to turn a conversation into a monologue.

I think politics is always about dialogue. I think journalism ranges from dialogue to monologue, and there are times when different poles are necessary.

If I have several bad guys and I only want to end up with one of them, then I have to decide which one I want in the end. And normally it's the one who is the most interesting talker.

The writer crafts their ideal world. In my world, everyone has really long conversations or just picks apart pop culture to death and everyone talks in monologue.