All About Dialogue Quotes & Sayings

The constitution of madness as a mental illness, at the end of the eighteenth century, affords the evidence of a broken dialogue, posits the separation as already effected, and thrusts into oblivion all those stammered, imperfect words without fixed syntax in which the exchange between madness and reason was made. The language of psychiatry, which is a monologue of reason about madness, has been established only on the basis of such a silence. — Michel Foucault

I'd tell you what happened, but I can't remember all of it. And I don't wanna put words in my dreams thoughts. — Crystal Woods

When people ask me about my dialogue, I say, 'Don't you hear people talking?' That's all I do. I hear a certain type of individual, I decide this is what he should be, whatever it is, and then I hear him. Well, I don't hear anybody that I can't make talk. — Elmore Leonard

I think about entrance and exits. I think about dialogue. But most of all I think about voice - all character development in theatre is done through voice. And as I wrote my debut novel "The Big Fear", I thought about narrative voice with every line. — Andrew Case

Of all the heartache I will ever know, only some of it will be real. The rest, I will create. — Crystal Woods

One plus one makes two but two monologues do not make a dialogue. Of all the traits, characteristics, attributes and habits of today's customers, the one that has serious consequences for businesses is this - today's customer does not want to be just spoken to. She wants to be engaged in a dialogue. Today's consumer expects to be part of the conversation about the product and/or service on offer. Today's customer does not want to be fed with advertisements. Collaboration is what excites today's customer. — J. N. HALM

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

Since I started making films, I've been a nut for dialogue. When I first saw Star Wars when I was 12 years old, I came home and recited all of the lines from it. Before I talked about Death Stars exploding and Tie Fighters I was talking about how funny Princess Leia was and how sarcastic Han Solo was. So to me that's always the most important thing, and I love hearing great actors say great lines. — Bryan Singer

It's fun being able to suit up and go and kick butt and not have to worry about memorizing dialogue. It's a whole different way of acting because you're not depending on the words at all, you're really depending on everything else that you have. — Kelly Hu

Theater roles are written by the great masters. The greatest literature that you can possibly know are the theater roles like King Lear, Hamlet, and all of those great roles. So all you do is you dive into these unchallenged roles and see how far you can get, what kind of accolades you can get, and how good you can be in them. In movie roles, you can actually improve them by knowing a lot about your own stage technique, which helps a great deal in the cinema and how you can project inner humor even though the particular dialogue is not necessarily funny, but you can infuse it with humor. — Christopher Plummer

The relationship with actor and director is probably closer to theater, in that, when we record the dialogue, there is very little in the way of the creative collaboration - no cameras, lighting or even locations. Then, once we record, the post process is very similar to the post flow in filmmaking - editing, sound design, mixing, etc. At the end of the day, it's all about storytelling and honing in on a tone by developing a rhythm and structure that suits the storytelling. — Glenn McQuaid

I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing. — Adriana Trigiani

This notion of shared experience is important. A hiker, for example, has much more in common with other hikers who have walked paths foreign to him than with sedentary people who have never hiked anywhere but have read books about the hiker's favorite path. If someone has hiked several mountains in Switzerland, for instance, he or she is likely to have more in common with those who have hiked in the Rocky Mountains than with those who have never hiked at all. The terrain may be different, but the act of hiking is similar. The same is true about spirituality. The acts of praying, meditating, fasting, contemplating deeply, and having other direct forms of experience, all influence practitioners differently than mere reading or listening. Moreover, because we all have the same tools to work with - body, mind, and spirit - practitioners from different faiths will have more in common than they realize. — Gudjon Bergmann

You know how there are words that never really - they are never really quite right. You can't quite trust them. Use them. You know. Without pause.'

'There are words I stare at,' Zach says. 'Strange. Every time. Misled, that's one. I see mizzled. And unshed. I read unched.'

'Me too! But that's a different thing - except, now you mention it, it's odd about unshed, that it's only for tears. Mostly. Hardly ever blood, for instance, you don't see unshed blood. Unched. Not really.'

'Not in my case anyway. Mine sheds all over the joint! I'm a bleeder all right. — Emma Richler

Contrary to the current presumption, if there is any man who has no right to solitude, it is the artist. Art cannot be a monologue. When the most solitary and least famous artist appeals to posterity, he is merely reaffirming his fundamental vocation. Considering a dialogue with deaf or inattentive contemporaries to be impossible, he appeals to a more far-reaching dialogue with the generations to come. But in order to speak about all and to all, one has to speak of what all know and of the reality common to us all. The sea, rains, necessity, desire, the struggle against death - these are the things that unite us all. We resemble one another in what we see together, in what we suffer together. Dreams change from individual to individual, but the reality of the world is common to us all. — Albert Camus

And now, what about a Watson? Are we to have a Watson? We are. Death to an author who keeps his unravelling for the last chapter, making all the other chapters but prologue to a five-minute drama. This is no way to write a story. Let us know from chapter to chapter what the detective is thinking. For this he must watsonize or soliloquize; the one is merely a dialogue form of the other, and, by that, more readable. A Watson, then, but not of necessity a fool of a Watson. A little slow, let him be, as so many of us are, but friendly, human, likeable ... — A.A. Milne

I remember asking myself one night, while I was curled up in the same old corner of my same old couch in tears yet again over the same old repetition of sorrowful thoughts, 'Is there ANYTHING about this scene you can change, Liz?' And all I could think to do was stand up, whle still sobbing, and try to balance on one foot in the middle of the living room. Just to prove that - while I couldn't stop the tears or change my dismal interior dialogue - I was not yet totally out of control: at least I could cry hysterically while balanced on one foot. — Elizabeth Gilbert

That was the end of the dialogue, because, I remember distinctly, he barely had time to say "What about the bread?" That was all. After that there was nothing but flame and noise. The kind of noise you wouldn't have thought possible. Our eyes, ears, nose, and mouth were so full of that noise I thought it was all over and I'd turned into noise and flame myself.

After a while the flame went away, the noise stayed in my head, and my arms and legs trembled as if somebody were shaking me from behind. My limbs seemed to be leaving me, but then in the end they stayed on. The smoke stung my eyes for a long time, and the prickly smell of powder and sulphur hung on, strong enough to kill all the fleas and bedbugs in the whole world. — Louis-Ferdinand Celine

A letter is not a dialogue or even an omniscient exposition. It is a fabric of surfaces, a mask, a form as well suited to affectations as to the affections. The letter is, by its natural shape, self-justifying; it is one's own evidence, deposition, a self-serving testimony. In a letter the writer holds all the cards, controls everything about himself and about those assertions he wishes to make concerning events or the worth of others. For completely self-centered characters, the letter form is a complex and rewarding activity. — Elizabeth Hardwick

I think that's one thing that, you know, we all need to remember is that, you know, politics, even though it's been really rough, is that we are all human beings first. And that it is more important for us to have civil dialogue. And you know what? I'm conservative, but I'm not mad about it. — Marlin Stutzman

Al Jazeera is the opinion of other opinion, independent. Al Jazeera is diverse, reflection of the collective mind of the nations and cultures and civilizations that we report from and we report to, bridge of dialogue. This is what Al Jazeera is all about. Al Jazeera is a mission. — Wadah Khanfar

For 30 years I have used my platform in provocative ways to encourage a healthy dialogue about important issues, including HIV/AIDS, war, and homelessness. I'm well aware of the risks that come with this approach, and if this encourages further awareness and discussion about critical issues then all-the-better. — Kenneth Cole

What the young writer needs to develop, to achieve his goal of becoming a great artist, is not a set of aesthetic laws but artistic mastery. He cannot hope to develop mastery all at once; it involves too much. But if he pursues his goal in the proper way, he can approach it much more rapidly than he would if he went at it hit-or-miss, and the more successful he is at each stage along the way, the swifter his progress is likely to be. Invariably when the beginning writer hands in a short story to his writing teacher, the story has many things about it that mark it as amateur. But almost as invariably, when the beginning writer deals with some particular, small problem, such as description of a setting, description of a character, or brief dialogue that has some definite purpose, the quality of the work approaches the professional. Having written some small thing very well, he begins to learn confidence. — John Gardner

Dialogue is a token of genuine Christian love, because it indicates our steadfast resolve to rid our minds of the prejudices and caricatures that we may entertain about other people, to struggle to listen through their ears and look through their eyes so as to grasp what prevents them from hearing the gospel and seeing Christ, to sympathize with them in all their doubts, fears and "hang-ups." For such sympathy will involve listening, and listening means dialogue. It is once more the challenge of the incarnation, to renounce evangelism by inflexible slogans, and instead to involve ourselves sensitively in the real dilemmas that people face. — John R.W. Stott

I find you can lose yourself in an acting sense in a fight far more easily than you can in a dialogue scene, and I love that about it. We try as actors all the time: we strive just to completely sort of lose ourselves in the moment, and we never quite get there, but in a fight, you can do it in seconds; that is what I love about it. — Kit Harington

What is the black shadow? It's the running inner dialogue we have with ourselves all day long about our fears of being inferior as black people. It is our internalization of the white man's lie that blacks are inferior to whites
the very lie that was the foundation of our ancestors' enslavement. The black shadow is more than simply internalized racism; it's also our complex feelings of fear and despair about being black, and consequently our longing to be less black. — Marlene F. Watson

Quite a lot of what passes itself off as dialogue about our society consists of people trying to justify their own choices (pursuing a creative career instead of making money; breastfeeding over formula; not having children in an overpopulated world) as the only right or natural ones by denouncing others' as selfish and wrong. So it's easy to overlook that it all arises out of insecurity. — Tim Kreider

I've come to understand the cumulative dialogue of my work as a kind of cartography of wisdom about our emerging world. This book is a map in words to important territory we all are on now together. It's a collection of pointers that treat the margins as seriously as the noisy center. For change has always happened in the margins, across human history, and it's happening there now. Seismic shifts in common life, as in geophysical reality, begin in spaces and cracks. — Krista Tippett

But it's hard for me to pinpoint where all my characters and dialogue come from - imagination or real life. My memoir, of course, was all about my past, and many of the short stories cleave very closely to my life, but the more stories I wrote in the collection, the more that seemed to be invented, but who knows ... I think I'm writing about a young woman with acne who shoplifts, but I'm really writing about myself. — Said Sayrafiezadeh

A piece of literature can be many things but first of all it must capture its audience. You need to seduce people, entice them into a world of beauty and horror, light and shadow, of passion, of romance, of mystery. That's the magic of it. Beyond that, of course, you can open a dialogue about the ideas which interest you, but first of all you absolutely must get inside people's minds. — Carlos Ruiz Zafon

We are hopeful about the opportunities ahead, and stand ready to join this President in an open and honest dialogue about improving the state of our union for all Americans not the select few. — Jim Clyburn

I still don't know what the film was about because all I remember is a whole lot of technical dialogue about a body in a suitcase. — Anthony Hopkins

Part of the fun of writing, touring, teaching, is engaging with real people about all of it: what to do now, how to build a movement, of approaches to teaching, of parenting - it's exciting to be in that dialogue. — Bill Ayers

Similarly, if we ask "What have philosophers ever done for us?" we get involved in the following dialogue:
"Well, their examples help us to decide what we think about issues we haven't thought about before."
"Oh, yeah, well, that goes without saying, doesn't it?"
"And their examples help us discover whether we really believe what we say we believe, or not."
" Yeah, all right. I'll grant you that their examples help us to work out what we think, and to think better. But apart from helping us to work out what we think, clarifying our views, and helping us to solve hard problems, what do philosophers ever do for us?"
"Well, their examples are amusing."
James Taylor, "Why is a Philosopher Like a Python? — Gary L. Hardcastle

I tried so hard to fight the endless sobbing. I remember asking myself one night, while I was curled up in the same old corner of my same old couch in tears yet again over the same old repetition of sorrowful thoughts, "Is there anything about this scene you can change, Liz?" And all I could think to do was stand up, while still sobbing, and try to balance on one foot in the middle of my living room. Just to prove that - while I couldn't stop the tears or change my dismal interior dialogue - I was not yet totally out of control. At least I could cry hysterically while balanced on one foot. Hey, it was a start. — Elizabeth Gilbert

Adventure games are all about details - if you happen to take this one object and use it with this other object, in a really weird place, at a weird time. If you happen to write a really funny dialogue line for that, even if it didn't solve the puzzle, people will appreciate that. — Tim Schafer

The authentic rebel knows that the silencing of all his adversaries is the last thing on earth he wishes: their extermination would deprive him and whoever else remains alive from the uniqueness, the originality, and the capacity for insight that these enemies being human also have and could share with him. If we wish the death of our enemies, we cannot talk about the community of man. In the losing of the chance for dialogue with our enemies, we are the poorer. — Rollo May

Do you know what two centimeters is?
Yeah. It's a measurement.
It's about three quarters of an inch.
All right.
That's the distance that round missed your liver by.
Is that what the doctor told you?
Yes. You know what the liver does?
No.
It keeps you alive. Do you know who the man is who shot you?
Maybe he didnt shoot me. Maybe it was one of the Mexicans.
Do you know who the man is?
No. Am I supposed to?
Becase he's not somebody you really want to know. The people he meets tend to have very short futures. Nonexistent, in fact.
Well good for him. — Cormac McCarthy

Maybe the answer is: Don't be an asshole, think before you open your trap, take responsibility for your words. Meaning, apologize when you're wrong and correct yourself moving forward - and don't constantly look for reasons to be offended and police well-meaning people's words. We want folks to talk to each other, right? Not just hang out with like-minded people all the time. Everyone is ignorant about something, and everyone is offended by something. If people can't have a calm, respectful dialogue without being hurt by ignorance, or without offending with insensitivity, then what the hell are we supposed to do? Surround ourselves with robots who don't challenge our ideas?" I — Penny Reid

We have to bring our imaginations to bear on a story if we are to see all it's possibilitiess; otherwise it's just about somebody who did something. Whatever we take away from stories in the way of significance, symbolism, theme, meaning, pretty much anything except character and plot, we discover because our imagination engages with that of the author. Pretty amazing when you consider that the author may have been dead for thousands of years, yet we can still have this exchange, this dialogue, with her. — Thomas C. Foster

One of the most wonderful things about Pride and Prejudice is the variety of voices it embodies. There are so many different forms of dialogue: between several people, between two people, internal dialogue and dialogue through letters. All tensions are created and resolved through dialogue. Austen's ability to create such multivocality, such diverse voices and intonations in relation and in confrontation within a cohesive structure, is one of the best examples of the democratic aspect of the novel. In Austen's novels, there are spaces for oppositions that do not need to eliminate each other in order to exist. There is also space - not just space but a necessity - for self-reflection and self-criticism. Such reflection is the cause of change. We needed no message, no outright call for plurality, to prove our point. All we needed was to reach and appreciate the cacophony of voices to understand its democratic imperative. There was where Austen's danger lay. — Azar Nafisi

My experience as a Jewish American has often been as a spectator of one-sided conversations, or more like monologues, about Israel, Jewish History, Jewish identity, etc. Although there are profound divisions amongst Jews on all of these topics there are not many opportunities for deep and thoughtful dialogue about them. — Jill Soloway

Keep a diary, but don't just list all the things you did during the day. Pick one incident and write it up as a brief vignette. Give it color, include quotes and dialogue, shape it like a story with a beginning, middle and end - as if it were a short story or an episode in a novel. It's great practice. Do this while figuring out what you want to write a book about. The book may even emerge from within this running diary. — John Berendt

Both need each other: The agnostic cannot be content to not know, but must be in search of the great truth of faith; the Catholic cannot be content to have faith, but must be in search of God all the time, and in the dialogue with others, a Catholic can learn more about God in a deeper fashion. — Pope Benedict XVI

I think that we should take the tragedy that happened in Newtown and have a full comprehensive dialogue about all issues, whether it has to do with mental health, whether it has to do with the social decline of our young people and some of the things that they are exposed to, whether it has to do with the firearms and guns. — Ann Wagner

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

Do you like manga?" she asked after a minute. "Anime?"
"Anime's cool. I'm not really into it, but 1 like Japanese movies,
animated or not."
"Well, I'm into it. I watch the shows, read the books, chat on the boards, and all that. But this girl I know, she's
completely into it. She spends most of her allowance on the books and DVDs. She can recite dialogue from
them." She caught my gaze. "So would you say she belongs here?"
"No. Most kids are that way about something, right? With me, it's
movies. Like knowing who directed a sci-fi movie made before I was born. — Kelley Armstrong

Humanity today is rightly concerned about the ecological balance of tomorrow. It is important for assessments in this regard to be carried out prudently, in dialogue with experts and people of wisdom, uninhibited by ideological pressure to draw hasty conclusions, and above all with the aim of reaching agreement on a model of sustainable development capable of ensuring the well-being of all while respecting environmental balances. — Pope Benedict XVI

The dialogue about sustainability is about a change in the human trajectory that will require us to rethink old assumptions and engage the large questions of the human condition that some presume to have been solved once and for all. — David W. Orr

His grandfather was scathing about "speculative faith," which is the kind you get from worrying about the possibility that God exists and may be cross with you. Daniel Spork observed that God, if there is one, is well aware of the interior dialogue, and most likely unimpressed by it. Much better, he said, to get on with being the man you are, and hope like buggery that God thinks you did as well as could be expected. Hence all the lessons and strictures concealed in everyday objects. _Learn the shape of the world, know the mind of God._ — Nick Harkaway

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

For me, it really is about a dialogue. Life can be really isolating or terrifying or euphoric - it's all these things. And while I'm here I want to have an exchange. I want something to vibrate. And I want to be really stimulated ... — Shary Boyle

Structure 19. You worried about structure when you came up with your story! If you did, I'm sorry. You missed some of the most joyous moments in writing. Character and story come first. Before anything. Certainly before all that Act One, Two, and Three crapola. When you're teasing out your story, make lots of notes. Think out loud. Talk to a tape recorder. Make more notes. Fill up oceans of 3x5 cards. Write on yellow legal pads. Write on white legal pads. Scribble on napkins or beer coasters. Write down cool stuff for characters to do that may never find its way into the movie. Make notes and more notes and more notes, but do not trouble yourself with structure. Screw structure. Have fun. Structure is for later. For now, just let your incredibly creative mind run free. Make notes about character and plot and story and funny moments and locations you'd like to visit. Tape record dialogue for your — William M. Akers

The self is configured in ways that both reflect and influence the very foundations of social life and everyday living. Without the guidance set by a particular set of ideas about what it means to be human, political conflict would be impossible. The shape of the self in a particular era indicates which goals individuals are supposed to strive toward, and how individuals are to comport themselves while striving; it indicates what is worthwhile, who is worthwhile, and which institutions determine worthwhileness. In other words, the self emerges out of a moral dialogue that sets the stage for all other political struggles. Once the self is set, the rest of the struggles begin to appear in the clearing: they materialize. — Philip Cushman

I don't think all comedy should be mindless. Have something that's thoughtful. Maybe some things are tongue-in-cheek; maybe some things are very direct. I like that people have to think about things. That excites me. Because if you say certain things, it starts a dialogue. Even if you disagree, it's still a dialogue. — Jerrod Carmichael

Anyone who has lived here for long enough has seen it all before: opposing sides of the political spectrum ferociously criticising each other, getting hot under the collar about this and that, bringing up all sorts of allegations and innuendos. Then just as it looks as if the argument is about to get physical, harmony breaks out. A dialogue is opened, an accord or a compromise is found. And suddenly, just as quickly as it came, all that fiery rhetoric subsides and everyone realizes it was all synthetic, put on for show when all along some deal was imminent anyway. It's as if every politician is merely an actor in a little theatre, and as soon as the curtain falls and the public can't see them any more they all slap each other on the back, tot up the takings and go out for an expensive meal. — Tobias Jones

Prayer is first of all listening to God. It's openness. God is always speaking; he's always doing something. Prayer is to enter into that activity ... Convert your thoughts into prayer. As we are involved in unceasing thinking, so we are called to unceasing prayer. The difference is not that prayer is thinking about other things, but that prayer is thinking in dialogue, ... a conversation with God. — Henri Nouwen

The situation is not about Hosni Mubarak, but the reality is now about Egypt, its present, the future of its sons, all Egyptians are in the same trench, therefore, we should continue our national dialogue That have already started in the spirit of groups but not enemies. — Hosni Mubarak

... modern man no longer communicates with the madman [ ... ] There is no common language: or rather, it no longer exists; the constitution of madness as mental illness, at the end of the eighteenth century, bears witness to a rupture in a dialogue, gives the separation as already enacted, and expels from the memory all those imperfect words, of no fixed syntax, spoken falteringly, in which the exchange between madness and reason was carried out. The language of psychiatry, which is a monologue by reason about madness, could only have come into existence in such a silence. — Michel Foucault

This is one of the things I don't like so much about French cinema - we have tendency to concentrate on actors and dialogue and we don't care so much about the visual aspect. I love when you use all the elements at your disposal. — Jean-Pierre Jeunet