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I want to turn my attention to movies about love relationships. Exploring the female psyche - there ought to be some interesting discoveries there. Love stories. If you do it right, people want to hear romantic dialog.
When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.
I have always viewed my role as a sort of ambassador or bridge between groups to help provide a dialog.
Finding a writer who can write decent kids' dialog and finding kids that can act realistically and not 'cute' is an effort.
If I hear an interesting turn of phrase on TV, I'll repeat it back - I just like to roll it around on my tongue. The same goes for dialog: I'll either speak it aloud or whisper it. I definitely sit in front of my computer and mutter. People have mentioned it.
There are lots of things, including changing the kind of inner dialog, that can mitigate anxiety. And yes, there are people who have the glass half full and glass half empty, and I'm afraid the glass is going to break and I'll cut myself on the shards.
The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
In the future, I think it's pretty plausible that collective intelligence tools and skills will be important in order to be a part of global dialog, global business, and global creativity. People who know how to negotiate collective intelligence networks are going to be in a good position to contribute to global society.
If you write interesting roles, you get interesting people to play them. If you write roles that are full of nuance and contradiction and have interesting dialog, actors are drawn to that.
I hate the word 'rendering,' as it equates to 'pouring concrete' on ideas that demand continuing dialog. 'Trade secrets' imply hoarding of knowledge.
Good first drafts and speedy responses to consumer dialog will always trump lawyered corporate speak.
I always wanted to make big action movies as a kid, and that was my dream. In a way, 'Swingers' was the thing I suffered through the most doing because of all that dialog, so I could eventually be allowed to do a big dumb action movie, honestly.
Movie characters rarely get to think out loud or talk very much about their emotions. Instead they have to, very briefly, show their feelings through their action or through dialog.
That's the challenging thing with TV; it's not the action scenes per se, and it's not the location scenes and the heavy dialog scenes, but the fact that there is just no let-up; there is no break.
I know it may seem surprising to people, but learning dialog that has a conversational flow to it is not that difficult.
I like writing dialog but don't think I'd be much good at a screenplay. I once had to write a treatment for a novel of mine - a condition of its being optioned by a movie producer - and I turned out something pretty lackluster. So my inclination would be to stay out of the way of an experienced screenwriter.
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