If there's anything I'm keen to get better at in my writing, then it's the writing of prose as opposed to the writing of dialogue.
The actual business of writing dialogue is not thought of as a craft.
When you translate the American writers who are best with dialogue into German - someone like Elmore Leonard, or Tom Wolfe, who's also quite good with dialogue. It's very hard to translate them well.
I didn't understand how funny this play Much Ado About Nothing truly was until I became an English teacher and had to teach it. There is no wittier dialogue anywhere.
I went right from wunderkind to washed up. Old. Been around too long. That's just the way I feel. That's my internal dialogue.
I certainly am not a great believer in over-rehearsing between actors, and certainly not doing the dialogue too much.
They're just words is all. Powerless. Vocabulary. Dialogue.
I can memorize great swathes of dialogue!
What I think improv is great for is making dialogue more natural.
It is just as important that we enter into a dialogue with China.
Garry Trudeau is the only cartoonist with the clout to get his strip published large enough to accomodate extended dialogue. It's ashame.
It's supposed to be a good thing that he's got this dialogue started. To me, I think, I just took away something bad from it, because, apparently he had to do this not to convince them of anything. To educate them.
The first thing you have to learn is how to conduct dialogue and how to make it productive.
Hillary Clinton is got to make the case for herself that nobody else can make, and for voters to see somebody who looks more three-dimensional, that's not simply a caricature that had been sort of a part of the American dialogue for the last 25 years.
Soaps are the best. They really are. If you can do a soap, well, you can do anything. You have to learn pages of dialogue very quickly.
I only make notes, I don't write dialogues in full. And the notes are very much based on my knowledge of person.
I got into dialogue because my parents began taking me to see plays from when I was very young. Too young, often, to understand the play I was watching: Who's Afraid Of Virginia Woolf when I was nine years old; That Championship Season when I was ten years old. But I loved the sound of dialogue; it sounded like music to me and I wanted to imitate that sound.
