Dialogue Quality Quotes

'Mystic River' just smelled interesting to me. So I read it and liked it right away. Even the dialogue in it was great.

Everyone remembers the pop-quiz hotshot bit from 'Speed' because it's extremely funny, and it's really smart and really witty. And the notion that action movies can have dialogue that pops just as well as the explosions is something that I hope more people continue to remember.

I'd like to be taken in charge of as an actor, not to be abandoned with asinine dialogue and meaningless actions or stereotyped characters. I'd like to feel like I'm in a character driven story.

Comedy completely depends on the script and the type of dialogues we get. Comedy is dependent on time and so I will say comedy is tougher than being a villain.

I do remember when I first read the script of the 92 In The Shade. I was in the house at Nicholas Beach, and that gang was starting to break up, and I read this terribly well-written dialogue, not figuring out that films are about structure and the thing was totally unstructured, and I thought, "Who is this writer? God, he's great."

When the medium of the film is English, even the illiterates also should speak in proper English.

The bad guys probably get the better lines, don't they? And they wear less spandex. That would be quite good.

I like to say good dialogue is a million times easier to memorize than bad dialogue - difficult good dialogue, even if it's difficult. Aaron Sorkin dialogue is easier to memorize, even though it's wildly complicated.

I can tell very early on, reading a script, within six or seven pages, whether I'm looking at real people, and whether I can see and hear real people.

In what we think of as bad dialogue, the characters talk directly to each other.

Dialogue that's distinctive, funny, peculiar, and specific is the main thing that makes me want to get involved with a film to begin with.

I find that dialogue is bad in most scripts. I just think there are very few writers that can capture the natural way people talk.

The important question has nothing to do with whether the talk in your story is sacred or profane; the only question is how it rings on the page and in your ear. If you expect it to ring true, then you must talk yourself. Even more important, you must shut up and listen to others talk.

I don't know if it's because my sensitivity is through the roof, but I can't stand contrived dialogue anymore.