What Are Dialogue Quotes & Sayings

We are constantly murmuring, muttering, scheming, or wondering to ourselves under our breath," wrote Epstein. " 'I like this. I don't like that. She hurt me. How can I get that? More of this, no more of that.' Much of our inner dialogue is this constant reaction to experience by a selfish, childish protagonist. None of us has moved very far from the seven-year-old who vigilantly watches to see who got more." There were also delightful passages about the human tendency to lurch headlong from one pleasurable experience to the next without ever achieving satisfaction. Epstein totally nailed my habit of hunting around my plate for the next bite before I'd tasted what was in my mouth. As he described it, "I do not want to experience the fading of the flavor - the colorless, cottony pulp that succeeds that spectacular burst over my taste buds." Prior — Dan Harris

I think you approach a part the same way and just find out in what's making them tick and who they are. In a movie like this you may have a little less time and few dialogue scenes and exposition scenes for your character to really get that across, and so I wanted to be able to convey that she's not somebody who's just punching a clock but she has this weird emotional investment in her job to where she does get quite myopic and that's what makes her relentless. — Kate Beckinsale

JAY: No really. Be secure. Pretend I'm a sperm cell. Here. I take the string out of the ... hood of my sweatshirt, affix it to my behind for a tail, like so ...
LENORE: What in God's name are you doing?
JAY: Pretend, Lenore. Be an ovum. Be strong. Let me hypothetically batter at you. Batter batter. Surrender to the unreal of the real interior.
LENORE: Are you supposed to be a sperm, wriggling your sweatshirt-string like that?
JAY: I can feel the strength of your membrane, Lenore. — David Foster Wallace

I think what interests me the most is when the two things are developed at the same time, which certainly feels natural for the way of working when there is no dialogue. You sort of depend on the music to be that, especially when there's lyrics in the music. — Matthew Barney

What is missing from today's dialogue is the effect autism is having on families, our society and what the unknown factors are. The 300lb. gorilla in the room is that our children with autism today will soon become adults with autism. — Jenny McCarthy

It is the single image, as used in a photograph or a painting - or the frame of a film - to which words have been added to enlarge the context. The method is not the same as that by which most paintings are named. It is closer in its performance to what dialogue does to a movie, to what the caption does to a good poster. — Muriel Rukeyser

I think what's really happening is that a dialogue opens up between the ego and these larger, more integrated parts of the psyche that are normally hidden from view. — Terence McKenna

An argument in apologetics, when actually used in dialogue, is an extension of the arguer. The arguer's tone, sincerity, care, concern, listening, and respect matter as much as his or her logic - probably more. The world was won for Christ not by arguments but by sanctity: What you are speaks so loud, I can hardly hear what you say. — Peter Kreeft

If we are open and we prepare for promoting dialogue and love, and a better understanding of each other, and tolerance and so forth, that's what the world will become, a more tolerant, loving place. — Russell Simmons

As the voices beneath the music are talking, you find that the music is just as important as what they're saying. The traditional thing is to lower the music so you can hear the dialogue. We just couldn't do that for that song. — Stanley Nelson Jr.

Inside Critics
The critical voices in our own heads are far more vicious than what we might hear from the outside. Our "inside critics" have intimate knowledge of us and can zero in on our weakest spots.
You might be told by the critics that you're too fat, too old, too young, not intelligent enough, a quitter, not logical, prone to try too many things ...
It's all balderdash!
Some elements of these may be true, and it's completely up to you how they affect you. Inside critics are really just trying to protect you. You can:
Learn to dialogue with them.
Give them new jobs.
Turn them into allies.
You can also dismantle/exterminate them. — SARK

By engaging with the person you're with. Which means, not thinking while they're speaking and not forming your answer as they are in the middle of asking the question. Engaging with the person means following carefully what they say, going for the full ride of their dialogue. So that you don't skip over a nuance by mistake. This is what'll keep you from zoning out, avoiding eye contact, looking at the wall like a freak, or sweating too much. — Augusten Burroughs

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

If you are willing to take an instant to withdraw attention from whatever your internal dialogue is, to withdraw energy from whatever the latest point of view about your suffering is, it is immediately obvious what is here: the fullness, the richness and the love of oneself as conscious life. — Gangaji

We see buildings in Britain mostly as freestanding objects. They are not meant to have a dialogue with anything around them, or with history, or with ideas of any kind beyond the self-referential. What we call 'regeneration' is largely an excuse for building for maximum profit with a bit of sculptural design thrown in to catch the eye of the media. — David Chipperfield

Stop trying to protect, to rescue, to judge, to manage the lives around you ... remember that the lives of others are not your business. They are their business. They are God's business ... even your own life is not your business. It also is God's business. Leave it to God. It is an astonishing thought. It can become a life-transforming thought ... unclench the fists of your spirit and take it easy ... What deadens us most to God's presence within us, I think, is the inner dialogue that we are continuously engaged in with ourselves, the endless chatter of human thought. I suspect that there is nothing more crucial to true spiritual comfort ... than being able from time to time to stop that chatter ... — Frederick Buechner

I approach mastering a little differently than some of my peers: I spend a lot of time creating a dialogue with the artist and the producers and mixers to try and get what they really are looking for. — Emily Lazar

Beware, then, of the long word that's no better than the short word: "assistance" (help), "numerous" (many), "facilitate" (ease), "Individual" (man or woman), "remainder" (rest), "initial" (first), "implement" (do), "sufficient" (enough), "attempt" (try), "referred to as" (called), and hundreds more. Beware of all the slippery new fad words: paradigm and parameter, prioritize and potentialize. They are all weeds that will smother what you write. Don't dialogue with someone you can talk to. Don't interface with anybody. — William Zinsser

What comes easiest for me is dialogue. Sometimes when my characters are speaking to me, I have to slow them down so that I'm not simply taking dictation. — Richard Russo

If you are a true logos and I am a true logos, then there is the possibility of the dia-logos - a true dialogue...What is true dialogue in a world like ours? Our world is drowning in communication, but starving for genuine communio - the union of true communion...Profound communion, the flow of celestial language, becomes possible when we are speaking on the firm foundation of the Logos, the Word who became flesh, the One who redeemed the universe. — Michael D. O'Brien

When we write memoir we are re-creating, sorting through the layer of remembering, to put form and shape to our experience through language. By borrowing from the techniques of fiction and poetry, we are able to make the events of our past come alive, creating detailed pictures of time and place and portraits of the people who have come and gone in our lives. We use scene and dialogue, challenging ourselves to recall how someone talked, what they said (or more accurately, what we remember that they said) and how we felt when moving among the people and events of our past. — Janice Gray

So I feel a responsibility to help first-time film-makers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens. — Walter Salles

The Wit of Cheats, the Courage of a Whore,
Are what ten thousand envy and adore:
All, all look up, with reverential Awe,
At crimes that 'scape, or triumph o'er the Law:
While Truth, Worth, Wisdom, daily they decry-'
'Nothing is sacred now but Villainy'

- Epilogue to the Satires, Dialogue I — Alexander Pope

Maybe we need more dialogue in terms of our faith, in terms of those who are believers, or even nonbelievers, about that aspect, and what that might mean if you were interpreting. You don't have to believe it; maybe you could draw a metaphor from it. — Joseph Fiennes

I know that what's said is often less important than the tone of voice in which the words are spoken. There is music in dialogue, mysterious harmonies and dissonances that vibrate in the body like a tuning fork. — Siri Hustvedt

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

Good fighters, they are so professional and quick, you can't see what's happening. It's very important: the fight is like a dialogue. Everybody has a line and an answer. — Timur Bekmambetov

Thinking and spoken discourse are the same thing, except that what we call thinking is, precisely, the inward dialogue carried on by the mind with itself without spoken sound. — Plato

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

Dialogue disappears when you are burdened with belief systems. How can you really be in a dialogue? You are already too full of your ideas and you think they are absolutely true. When you are listening to the other, you are just being polite; otherwise you don't listen. You know what is right, you are simply waiting until this man finishes and then you jump upon him. Yes, there can be a debate and a discussion and argumentation, but there can be no dialogue. Between two beliefs there is no possibility of dialogue. Beliefs destroy friendship, beliefs destroy humanity, beliefs destroy communion. So — Osho

You can't instruct an audience to laugh, but what you can do is read well and understand the spirit and subtleties, if there are any, in the dialogue. — Tommy Lee Jones

So what's the point of longing for a new, monumental category hidden somewhere in the non-Western discourse? On the contrary, shouldn't we emphasize that Western art historical thinking has not necessarily to be regarded as monumental? This would be a good condition for dialogue with scholars who are not (or do not want to be) affiliated with "our" tradition. — Ralph Ubl

Some parents find the idea of asking permission to share their perspective ridiculous, or even offensive. "Why should I have to ask my teen permission to speak?" one father asked. The question is not whether the parents have the right to speak to the teenager, they do. The question is: "Do you want your teenager to listen to what you are saying?" Asking permission recognizes that she is an individual, and she has the choice of hearing what is in your heart and mind - or not hearing it. You are recognizing your teen as an individual. You are creating the climate for sympathetic dialogue. Parents — Gary Chapman

The interests behind fracking are very powerful and they've managed to control the dialogue for a while, because they have forced people to sign disclosure agreements; people who have had negative experiences who are not able to speak out because they've signed disclosure agreements with the gas companies. Things like this. They've managed to strangle the opposing viewpoint, but it does seem like the people who are against fracking have started to gain some traction and the realities of what an environmental nightmare it is are starting to become known. — Joan Osborne

When you're with your wife, you don't say I love you to your wife every day but the ways you look at her and your actions are another way to communicate. Don't focus on dialogue, only focus on what you're expressing. — Michel Hazanavicius

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

There are certain comics that just seem like they have this perfect balance between dialogue and image that I can't not read. I'll want to save it for later, and the next thing I know, I'm reading it. That's what I'm kind of trying to do with my comics. — Daniel Clowes

Overuse at best is needless clutter; at worst, it creates the impression that the characters are overacting, emoting like silent film stars. Still, an adverb can be exactly what a sentence needs. They can add important intonation to dialogue, or subtly convey information. — Howard Mittelmark

I leaned against the desk, ran my hand over my father's paperwork, and picked up a pen. Turning around, I shoved it into my father's hand.
"What's this?" he asked, raising a brow.
"You'll need it to sign my death certificate," I said, pain vibrating my veins against my muscles and bones. "Are we done now?" (Eric) — Shannon A. Thompson

When I'm singing a song on stage, I hate hypocrites. If you don't put yourself in that lyric and emote and be what that lyric says that you are, then you're just going through the motions and you're being hypocritical. I just take that same approach with acting. I just take the dialogue and I emote it and become that. I use the same technic. — Trace Adkins

We have to be in a listening mode: it is about dialogue, about listening to what the others have to say, about cooperating in the best way possible. These are the values and principles that we put forward. — Pierre Vimont

What really worries me is that those who are in positions of power are not really affected by what we are writing. In the moral dialogue you want to start, you really want to involve the leaders. People ask me: "Why were you so bold as to publish A Man of the People? How did you think the Government was going to take it? You didn't know there was going to be a coup?" I said rather flippantly that nobody was going to read it anyway, so I wasn't likely to be fired from my official position. It's a distressing thought that we cannot engage our leaders in the kind of moral debate we need. — Chinua Achebe

Conversation. In Laches, he discusses the meaning of courage with a couple of retired generals seeking instruction for their kinsmen. In Lysis, Socrates joins a group of young friends in trying to define friendship. In Charmides, he engages another such group in examining the widely celebrated virtue of sophrosune, the "temperance" that combines self-control and self-knowledge. (Plato's readers would know that the bright young man who gives his name to the latter dialogue would grow up to become one of the notorious Thirty Tyrants who briefly ruled Athens after its defeat by Sparta in the Peloponnesian War.) None of these dialogues reaches definite conclusions. They end in aporia, contradictions or other difficulties. The Socratic dialogues are aporetic: his interlocutors are left puzzled about what they thought they knew. Socrates's cross-examination, or elenchus, exposes their ignorance, but he exhorts his fellows to — Plato

The thing is, you cannot ask people to coexist by having one side bow their heads and rely on a solution that is only good for the other side. What you can do is stop blaming each other and engage in dialogue with one person at a time. Everyone knows that violence begets violence and breeds more hatred. We need to find our way together. I feel I cannot rely on the various spokespersons who claim they act on my behalf. Invariably they have some agenda that doesn't work for me. Instead, I talk to my patients, to my neighbors and colleagues
Jews, Arabs
and I find out they feel as I do: we are more similar than we are different, and we are all fed up with the violence. — Izzeldin Abuelaish

Wherever we are, we can call for and create these kinds of settings for authentic dialogue. This is the seedbed of social change. In a voiced community, we all flourish. But it's not easy. Revolutionary patience and persistence is required. It can be messy, it is unpredictable, and change, especially structural change takes time - time and leadership and the will of an engaged community. What is needed? In a word, courage. — Terry Tempest Williams

I believe you shouldn't force the audience's interpretation of a character or a story. The more you explain things, the less intriguing and imaginable they are for viewers ... Film to me, in its essence, in its ultimate nature, is silent. Music and dialogue are there to fill what is lacking in the image. But you should be able to tell the story with moving pictures alone. For my next project, though, I'd like to make the kind of film where the characters blabber all the time. — Takeshi Kitano

In many of the films now being made, there is very little cinema: they are mostly what I call 'photographs of people talking.' When we tell a story in cinema we should resort to dialogue only when it's impossible to do otherwise. I always try to tell a story in the cinematic way, through a succession of shots and bits of film in between. — Alfred Hitchcock

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

I was Paul Schrader's assistant for six months before I went to film school, and he's very much about knowing what's going to happen on every page before you even start writing dialogue - the entire plot and character arcs are mapped out. — Jonathan Levine

The disowned parts of ourselves are what get in the way of us having the relationships we long for, the careers we don't know how to create, and the goals we want to achieve. It is by getting in touch with ALL the parts of ourselves - by having a gentle dialogue with all the "selves" we have inside - that we integrate them into a more comfortable, peaceful way of being with ourselves. — Shakti Gawain

Because past environmental destruction was the result of ignorance, we can easily forgive it. Today, we are better informed. Therefore, it's essential that we make an ethical examination of what we have inherited, what we are responsible for, and what we will pass on to coming generations. Ours is clearly a pivotal generation. We have global communication and yet confrontation is more common than dialogue. — Dalai Lama

Many men understand and appreciate that seduction first makes women feel uncomfortable. What these men do instead is focus on comfort first.
What these men don't realize is that women of beauty get bombarded by these nice guys every day, and it can grow quite tiresome. While not as offensive as these seducer, the nice guy is no less a bother. There are simply too many nice guys approaching them in a day to indulge in the same old lengthy dialogue time after time. Without attraction first, simply saying, "Hi, I'm Joe. What's your name?" will smack of every nice guy before you. Why would a woman who isn't attracted to you care what your name is or bother to even remember it? Why would she divulge personal information just because you asked? — Mystery

So I think it's important to communicate with the people in terms of what the real facts are on these proposals and try to have a discussion and a dialogue that gives people information. I think they're hungry for that rather than just political rhetoric. — John Podesta

Film and television have convinced too many writers that heaps of dialogue make novels more like movies and therefore good. This is an amateur's fantasy, and it has induced some writers to surrender the few advantages they have over cinematic storytelling. The moviemaker is stuck with what the camera can see and the microphone can hear. You have more freedom. You can summarize situations. You can forthrightly give us people's histories. You can concentrate ten years into ten words. You can move anywhere you like outside real time. You can tell us - just tell us - what people are thinking and feeling. Yes, abundant dialogue can lighten a story, make it more readable and sparkle with wonders. But it is pitiably inadequate before what it is not suited to do. — Stephen Koch

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

When I am making a film, I know what to do in front of a camera. What frightens me are the scenes with dialogue. Sometime they really want me to speak perfectly and I don't like that. — Jackie Chan

The networks are different so they have a different approach. Obviously, with The Shield - that was on FX so they had a little bit more leeway as far as the dialogue was concerned and even the content and what they showed the viewers, which is a great thing. But we will push it to the limit as far as FOX will let us go; that's for damn sure. — Mekhi Phifer

As I stood in contemplation of the garden of the wonders of space," Milosz writes, "I had the feeling that I was looking into the ultimate depths, the most secret regions of my own being; and I smiled, because it had never occurred to me that I could be so pure, so great, so fair! My heart burst into singing with the song of grace of the universe. All these constellations are yours, they exist in you; outside your love they have no reality! How terrible the world seems to those who do not know themselves! When you felt so alone and abandoned in the presence of the sea, imagine what solitude the waters must have felt in the night, or the night's own solitude in a universe without end!" And the poet continues this love duet between dreamer and world, making man and the world into two wedded creatures that are paradoxically united in the dialogue of their solitude. — Gaston Bachelard

We improv-ed scenes that didn't happen in the movie. We improv-ed the scenes that are written in the movie without the dialogue as written. We played around a lot to try and figure out just how we could flow with what was already written in the story and how we could highlight those imbalances and those points at which we came to loggerheads. — Bruce Greenwood

The secrets that the characters hold are held back from the audience, and that's such a delight to hold onto. When you're playing scenes, it gives you an inner dialogue that allows you to really immerse yourself as the actor, in every scene that you're playing. Nothing felt expositional. Nothing felt like we were just doing it to move the story along. There was a reason these characters were saying what they're saying. It was a gift, really. — Tom Hughes

Hunting in my experience - and by hunting I simply mean being out on the land - is a state of mind. All of one's faculties are brought to bear in an effort to become fully incorporated into the landscape. It is more than listening for animals or watching for hoofprints or a shift in the weather. It is more than an analysis of what one senses. To hunt means to have the land around you like clothing. To engage in a wordless dialogue with it, one so absorbing that you cease to talk with your human companions. It means to release yourself from rational images of what something "means" and to be concerned only that it "is." And then to recognize that things exist only insofar as they can be related to other things. These relationships - fresh drops of moisture on top of rocks at a river crossing and a raven's distant voice - become patterns. The patterns are always in motion. — Barry Lopez

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

Health care is at the beginning of a dialogue with the world ... as health care providers, we have to ask ourselves this question: What stories are we not hearing? — Sachin H. Jain

Overall, my books represent a kind of shared communion and meditation with my fellow human beings ... The books are also a part of what I call the great continuum of spiritual literary dialogue that I feel has been in progress since human beings first gave in to the urge to pray to their sense of something greater than themselves and interpreted certain signs or events or silences as responses to those prayers. — Aberjhani

Via our left hemisphere language centers, our mind speaks to us constantly, a phenomenon I refer to as "brain chatter." It is that voice reminding you to pick up bananas on your way home and that calculating intelligence that knows when you have to do your laundry. There is vast individual variation in the speed at which our minds function. For some, our dialogue of brain chatter runs so fast that we can barely keep up with what we are thinking. Others of us think in language so slowly that it takes a long time for us to comprehend. Still others of us have a problem retaining our focus and concentration long enough to act on our thoughts. These variations in normal processing stem back to our brain cells and how each brain is intrinsically wired. — Jill Bolte Taylor

Ideas come from the Earth. They come from every human experience that you've either witnessed or have heard about, translated into your brain in your own sense of dialogue, in your own language form. Ideas are born from what is smelled, heard, seen, experienced, felt, emotionalized. Ideas are probably in the air, like little tiny items of ozone. — Rod Serling

Ever since the Enlightenment era in the 17th and 18th Centuries - which, among other things, gave birth to the U.S. Constitution and the de facto motto E Pluribus Unum (out of the many, one) - interfaith tolerance has been sown into the fabric of Western society. The rules of one religion are not made into law for all citizens because of a simple social agreement. For you to believe what you want, you must allow me to do the same, even if we disagree. — Gudjon Bergmann

In real life, people fumble their words. They repeat themselves and stare blankly off into space and don't listen properly to what other people are saying. I find that kind of speech fascinating but screenwriters never write dialogue like that because it doesn't look good on the page. — Christopher Guest

When we lose the contemplative mind, or non-dual consciousness, we invariably create violent people. The dualistic mind is endlessly argumentative, and we created an argumentative continent, which we also exported to North and South America. We see it in our politics; we see it in our Church's inability to create any sincere interfaith dialogue - or even intra-faith dialogue. The Baptists are still fighting the Anglicans as "lost" and the Evangelicals are dismissing the Catholics as the "Whore of Babylon," and we Catholics are demeaning everybody else as heretics, and each of us is hiding in our small, smug circles. What a waste of time and good God-energy, while the world suffers and declines. We have divided Jesus. — Richard Rohr

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

Jane Austen is thus a mistress of much deeper emotion than appears upon the surface. She stimulates us to supply what is not there. What she offers is, apparently, a trifle, yet is composed of something that expands in the reader's mind and endows with the most enduring form of life scenes which are outwardly trivial. Always the stress is laid upon character... The turns and twists of the dialogue keep us on the tenterhooks of suspense. Our attention is half upon the present moment, half upon the future...Here, indeed, in this unfinished and in the main inferior story, are all the elements of Jane Austen's greatness. — Virginia Woolf

A poem, being an instance of language, hence essentially dialogue, may be a letter in a bottle thrown out to the sea with the-surely not always strong-hope that it may somehow wash up somewhere, perhaps on the shoreline of the heart. In this way, too, poems are en route: they are headed towards. Toward what? Toward something open, inhabitable, an approachable you, perhaps, an approachable reality. Such realities are, I think, at stake in a poem. — Paul Celan

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

Dialogue is used to reveal not what we want to say, but what we are trying to hide. — William Monahan

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 are not only interested in those aspects of the mystery of the Roman Catholic Church which set her apart from the other Christian communities, but also to show how often they are central beliefs by describing what is specifically Catholic in such a way that the partner in dialogue can see, even from his own standpoint, the inner consistency. — Hans Urs Von Balthasar

When two friends meet on the street and talk about the weather, don't we know that theirs isn't a conversation about the weather? What is being said? "I'm your friend. Let's take a minute out of our busy day and stand here in each other's presence and reaffirm that we are indeed friends." They might talk about sports, weather, shopping...anything. But the text is not the subtext. What is said and done is not what is thought and felt. The scene is not about what it seems to be about. Screen dialogue, therefore, must have the swing of everyday talk but content well above normal. — Robert McKee

Jim. If you have any other outside events, don't confess them. That's my advice, okay?""What am I going to do, Bob? I have no family.""You have family," Bob said. "You have a wife who hates you. Kids who are furious with you. A brother and sister who make you insane. And a nephew who used to be kind of a drip but apparently is not so much of a drip now. That's called family."Jim fell asleep, his head leaning forward almost to his chest — Elizabeth Strout

Though we run across exceptions, philosophical novels where explanation holds interest, the temptation to explain is one that should almost always be resisted. A good writer can get anything at all across through action and dialogue, and if he can think of no powerful reason to do otherwise, he should probably leave explanation to his reviewers and critics. The writer should especially avoid comment on what his characters are feeling, or at very least should be sure he understands the common objection summed up in the old saw Show, don't tell. — John Gardner

Heart-to-heart journaling is a dialogue with God where both you and God are talking and you are recording it on paper. Heart-to-heart journaling is simply writing out your thoughts to God and what you sense to be His answer or response to you. — Linda Boone

Monitor your self-talk, that internal dialogue of what you are telling yourself every day. — Tom Benfield

A real value of a talk is not how it goes but what it leaves in your memory, which is one reason perhaps why dialogues in books are always so boring to read. — H.G.Wells

You lay claim to your stories; you honor, with your hard work and the best of your talent, their inspirations, and you fight to tell them well from a sense of indebtedness and thankfulness. The ambiguities, the contradictions, the complexities of your choices are always with you in your writing as they are in your life. You learn to live with them. You trust your need to have a dialogue about what you deem important. — Bruce Springsteen

During the actual filming, I'm not really listening to dialogue. I'm watching to see if the actors are communicating something and expressing something. I'm just watching a conversation. You're not aware of exactly what people are saying. You are aware of what they are INTENDING and what kind of feeling is going on in that scene. — John Cassavetes

Ferrari: How odd, Borges, it seems that we are talking constantly through memory. Sometimes, our conversations remind me of a dialogue between two memories.
Borges: In fact, that's what it is. If we are something, we are our past, aren't we? Our past is not what can be recorded in a biography or in the newspapers. Our past is our memory. That memory can be hidden or inaccurate - it doesn't matter. It's there, isn't it? It can be a lie but that lie becomes part of our memory, part of us. (Conversations, Vol. 1) — Jorge Luis Borges

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

The question is which one of us is the frog and which is the toad,' Willem had said after they'd first seen the show, in JB's studio, and read the kindhearted books to each other late that night, laughing helplessly as they did.
He'd smiled; they had been lying in bed. 'Obviously, I'm the toad,' he said.
'No,' Willem said, 'I think you're the frog; your eyes are the same color as his skin.'
Willem sounded so serious that he grinned. 'That's your evidence?' he asked. 'And so what do you have in common with the toad?'
'I think I actually have a jacket like the one he has,' Willem said, and they began laughing again. — Hanya Yanagihara

I have seen a stunning amount of death and destruction. Creation yes, but more death than birth. Mankind has learned nothing from their forefathers. Their ancestors. It is true what they say: history does repeat itself, Delacroix, and those after history are left to make it, but how can they," he removed his hand from the globe, waving it thoughtfully through the air, "when it has already been made? — S.C. Parris

I've found that good dialogue tells you not only what people are saying or how they're communicating but it tells you a great deal - by dialect and tone, content and circumstance - about the quality of the character. — E. O. Wilson

Are you an artist?
I ask this question a lot. Generally, this question is met with a pause and a slightly blank look. In that moment I can almost hear the inner dialogue: "Um, Artist? Well, no. I make stuff. Sometimes. But an "Artist" with a capital A? I want to say yes, but that would be terrifying". What actually comes out of the person's mouth is usually, "Oh. Uh, not really". I should mention that this answer, and those blank looks, are always from adults. When I ask kids the same question, I get a very different response. It goes a little something like this: "Are you an artist?" "Yes". No hesitation. No thinking it over first. They have never sold a painting, or published a story, but they have absolutely no problem answering me with a loud, resounding yes. — Danielle Krysa

Reading. The erotics of reading for me -- its moment of trembling pleasure -- lie in those times when I realise that what I am reading is just what I was about to say. It is a moment of jealousy and disappointment, as if the occasion had been stolen from me, but it is a moment of excitement, too -- because I think I would like to try and say it better, because now the monologue in my mind has become dialogue. My immediate impulse is to write something, anything, notes to tell me the significance of what I have read, an appreciative letter to the author, the first sentences in a preface to a book that will never be written. Th archives of my readings are monumentally high. I can never let these erotic moments go. They are the paper trail of my mind. — Greg Dening

Good dialogue illuminates what people are not saying — Robert Towne

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

You know, this dialogue is only helpful when we come, both of us, to a point and realize that no dialogue is possible, that no dialogue is necessary. When I say 'understanding', 'seeing', they mean something different to me. Understanding is a state of being where the question isn't there any more; there is nothing there that says "now I understand!" - that's the basic difficulty between us. By understanding what I am saying, you are not going to get anywhere. — U.G. Krishnamurti

What deadens us most to God's presence within us, I think, is the inner dialogue that we are continually engaged in with ourselves, the endless chatter of human thought. — Frederick Buechner