Quote of the Day
I have always viewed my role as a sort of ambassador or bridge between groups to help provide a dialog.
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.
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.
Finding a writer who can write decent kids' dialog and finding kids that can act realistically and not 'cute' is an effort.
I hate the word 'rendering,' as it equates to 'pouring concrete' on ideas that demand continuing dialog. 'Trade secrets' imply hoarding of knowledge.
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.
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.
I know it may seem surprising to people, but learning dialog that has a conversational flow to it is not that difficult.
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.
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.
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