Action Within Dialogue Quotes & Sayings

With Batman & Robin , the fourth entry in the recent Batman movie series, the profitable franchise appears poised to take a nosedive. This film, which places yet another actor in the batsuit, has all the necessary hallmarks of a sorry sequel pointless, plodding plotting; asinine action; clueless, comatose characterization; and dumb dialogue ... Batman & Robin moves at a dizzying pace, yet goes absolutely nowhere. — James Berardinelli

I think that Lethal Weapon-style dialogue is overused, it's a necessary aspect of high action films where you have to have the smart retort. You have to say "I'll be back baby" and stuff. It's not my style. — George Lucas

Critical and liberating dialogue, which presupposes action, must be carried on with the oppressed at whatever the stage of their struggle for liberation. The content of that dialogue can and should vary in accordance with historical conditions and the level at which the oppressed perceive reality. — Paulo Freire

We also know that the various faith-based institutions provide about 50 per cent of the health and education services in the poor communities; we also know that they have a large constituency including women and youth; they have outreach and networks and they are credible to their people. If we want to achieve the Millennium Development Foals by scaling up the responses of all the communities, do we ignore this large investment in people? Or do we engage in dialogue and in action? — Thoraya Obaid

Lying is a full time occupation, even if you tell just one, because once you tell it, you're stuck with it. If you want to do it right, you have to visualize it, conjure the graphics, tone, and sequence of action, then relate it purposefully in the midst of seemingly spontaneous dialogue. The more actual the lie becomes to the listener, the more actual it becomes to the teller, which is scariest of all. Some people really get to believing their own lies. — Hilary Thayer Hamann

Characterization is an accident that flows out of action and dialogue. — Jack Woodford

Scourge of the Betrayer is as harsh and profane as anything RichardK Morgan or Joe Abercrombie serves up. Fortunately, Saylards has the skills -and the humor - to pull it off. Snappy dialogue, political intrigue, shadycharacters, gripping action sequences, a poor guy that has no idea what he'sgotten himself into ... Yeah, there's a lot to like about this debut. — David Anthony Durham

Don't have conversations taking place in empty space. Weave in background details of where the action (dialogue is a form of "action") is taking place. Don't have invisible people talking, either. Let the reader see them as they speak - their facial expressions and gestures. And by all means "cue" the speeches to the speakers. — Lee Wyndham

That was enough dialogue for a few pages - he had to get into some fast, red-hot action.
There weren't any more hitches now. The story flowed like a torrent. The margin bell chimed almost staccato, the roller turned with almost piston-like continuity, the pages sprang up almost like blobs of batter from a pancake skillet. The beer kept rising in the glass and, contradictorily, steadily falling lower. The cigarettes gave up their ghosts, long thin gray ghosts, in a good cause; the mortality rate was terrible.
His train of thought, the story's lifeline, beer-lubricated but no whit impeded, flashed and sputtered and coursed ahead like lightning in a topaz mist, and the loose fingers and hiccuping keys followed as fast as they could. ("The Penny-A-Worder") — Cornell Woolrich

When the song is part of the action and working as dialogue, even two minutes is way too long. — Stephen Sondheim

I treat any scene the same - dialogue, action - you're still creating something in character. It's all acting, fighting. — Clive Owen

It depends, because sometimes an action role can be very demanding, and sometimes a dialogue-driven character can be very demanding, and vice versa. It depends. — Benicio Del Toro

I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action. — Lee Unkrich

Die Hard represents the class of modern action pictures and the standard by which they must be judged. Few films falling into the "mindless entertainment" genre have as much going for them as this movie. Not only is it a thrill-a-minute ride, but it has one of the best film villains in recent memory, a hero everyone can relate to, dialogue that crackles with wit, and a lot of very impressive pyrotechnics. — James Berardinelli

Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy. — Marina Abramovic

Octave staggered to his feet, his stick swinging back to point toward Nicholas. He felt a wave of heat and saw spellfire crackle along the length of polished wood, preparing itself for another explosive burst. Crack was moving toward Octave, but Madeline shouted, "Get back!"
Nicholas ducked, as a shot exploded behind him. Octave fell backward on the carpet and the blue lightning flared once and vanished with a sharp crackle.
Nicholas looked at Madeline. She stepped forward, holding a small double-action revolver carefully and frowning down at the corpse. He said, "I wondered what you were waiting for."
"You were in my line of fire, dear," she said, preoccupied. "But look. — Martha Wells

If the seminary is too large, it ought to be divided into smaller communities with formators who are equipped really to accompany those in their charge. Dialogue must be serious, without fear, sincere. It is important to recall that the language of young people in formation today is different from that in the past: we are living through an epochal change. Formation is a work of art, not a police action. We must form their hearts. Otherwise we are creating little monsters. And then these little monsters mold the People of God. This really gives me goose bumps. — Pope Francis

When you practice positive inner dialogue, people will want to bond with you, help you, be near you. They want to share in the bliss that shines through your eyes and is reflected in your every action. — Deepak Chopra

These questions are difficult. The answers are not obvious, and so there should be some pausing, some angst, some honest uncertainty as people struggle to decide the best course of action. But I see none of this in the press releases and reports I read. Instead I see both sides telling us that to be uncertain, to dialogue instead of rail, is to betray the cause. — Alisa Harris

A book is maybe about 350 pages, and the prose allows for readers to get a glimpse into the internal lives of the characters. A screenplay is 120 pages, and it's all dialogue and action. The pacing of films is different, the structure is often different, and the internal lives of the characters must come across through the acting. Movies are just a different experience than reading - so it just depends on what an individual prefers. — Nicholas Sparks

Good writers may "tell" about almost anything in fiction except the characters' feelings. One may tell the reader that the character went to a private school (one need not show a scene at the private school if the scene has no importance for the rest of the narrative), or one may tell the reader that the character hates spaghetti; but with rare exceptions the characters' feelings must be demonstrated: fear, love, excitement, doubt, embarrassment, despair become real only when they take the form of events - action (or gesture), dialogue, or physical reaction to setting. Detail is the lifeblood of fiction. — John Gardner

Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters. — Samuel Fuller

The whole purpose of screenwriting is to convey everything through action and dialogue and not explanation and exposition. To me, there are movies where voiceover works really well because it does something more than exposition; it actually becomes a tonal element of the movie. — Jonathan Tropper

Short of a small range of physical acts-a fight, murder, lovemaking-dialogue is the most vigorous and visible inter-action of which characters in a novel are capable. Speech is what characters do to each other. — Elizabeth Bowen

For me, there's nothing better than when I become the funnel, and have that out of body experience where I'm not the one writing anymore. At that point, it's all about bladder control. Sitting back and watching scenes, characters, and dialogue appear out of nowhere, and fear of breaking the spell makes you hold in your pee for six or eight hours is the best thing about being a writer. — Rafael Amadeus Hines

Stories are great, but at the end of the day, you remember that moment and that moment and that moment. 'The Avengers' had all of this great, giant action, but for all of the clever dialogue, it's the moments. — Jeffrey Bell

Because we are rooted in a generous Christian heritage, we are eager to collaborate with people of other faiths, and those seeking the common good. Our networks of dialogue and action thus extend beyond Christian communities to persons of all faiths, as well as to communities that are not themselves faith-based. We welcome allies and allegiances wherever we find common cause ... — Brian D. McLaren

The truth is - I found myself doing these huge action-adventure movies, and um, and which are cool man. And I really love doing them. And thankfully I haven't had too much dialogue, because if I had I would have really made a mess of it. You know what I mean? — Orlando Bloom

The city I inhabit now is not the city that I moved to in 1926; it has become a mean-spirited action movie complete with repulsive plot twists and preposterous dialogue. — Kathleen Rooney

Poems are surmountable. They have rhymes and rhythms to help you make meaning. They're short enough. . . to read and reread until you've made some sense of them. Short stories are a different ballgame. You read them and understand the words completely. You know what happens in each sentence. You follow the dialogue and action. at the end, you know exactly what's happened. And also you have no idea. — Laurie Frankel