I hope that my ideas attract a lively dialogue, even if my sentences are simple. Simple sentences have always served me well. And I don't use semicolons. It's hard to read anyway, especially for high school kids. Also, I avoid irony, too. I don't like people saying one thing and meaning the other.
I love somebody that can hold a great conversation.
Since I'm not a journalist, I talk about issues that encourage an interchange of ideas through conversation while also being entertaining.
The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.
All we think about is how to keep the audience engaged, and normally we're big on plot because that's the easy way to do it.
Radio is more powerful the closer we mimic the way we actually speak to each other. That's why Howard Stern is such a great radio talent. People on his show are actually speaking to each other. You might not like what they're saying, but they're real conversations.
I think of the thrill of an intelligent woman talking just to me.
I think what makes a good action film is a story that gets you involved. Just action, by itself, is not going to work.
Clever people are always the best conversations lexicon.
Be it the team or script, everything about 'Imaikkaa Nodigal' is special to me. The script is nothing like what I have done before.
I enjoy people who talk intelligently.
The best meeting I ever went to was a meeting in France where the talk slots were 60 minutes long, but you were told to prepare a five-minute talk. It was absolutely great because the entire talk was a conversation between the speaker and the audience.
The great charm of conversation consists less in the display of one's own wit and intelligence than in the power to draw forth the resources of others.
One of our jobs is to keep women working, which we do by keeping women coming to the movies. And doing that means making good, smart, often funny movies that women can identify with-with terrific dialogue we all remember and cherish, and stories that illuminate our lives and decisions and turning points.
I like when you can have a conversation with people and it's not just stock questions.
A couple of my favorite podcasts are 'Still Processing' from 'The New York Times,' Oprah's 'Super Soul Conversations,' RuPaul's 'What's the Tee?'
Telling is not selling; never make a statement if you can phrase it in the form of a question.
Table talk, to be perfect, should be sincere without bigotry, differing without discord, sometimes grave, always agreeable, touching on deep points, dwelling most on seasonable ones, and letting everybody speak and be heard.
I don't know if I believe in love at first sight, but of course I believe in two people having chemistry right away. A girl should be really easy to talk to. When I lose track of time because we've been talking, I think that's really fun.
I see a lot of scripts, and very few of them leap off the page at you.
I think about my audience when I write, to some extent. Thinking of writing for young adults, I try to keep the stories moving, never a dull moment, to hold their interest.
The good thing about 'Have I Got News For You' is it's a compact show but it still gives everyone space to breathe, and everyone always gets a chance to say something if they want to. It's a very difficult show to dominate, and guests who come on and dominate always fall foul.
Good communication is just as stimulating as black coffee, and just as hard to sleep after.
This conversation with the audience has been going on since, what, '72, '73... Sometimes it's like a conversation after dinner with friends. You're in a restaurant, and you got there at 8 o'clock. Suddenly, you realize it's midnight. Where did the time go? You're enjoying the conversation. It's sort of a natural, organic conversation.
Things are going so well. We’re volleying words back and forth. Everything she says, I have something I can say back. We’re sparking, and part of me just wants to sit back and watch. We’re clicking. Not because a part of me is fitting into a part of her. But because our words are clicking into each other to form sentences and our sentences are clicking into each other to form dialogue and our dialogue is clicking together to form this scene from this ongoing movie that’s as comfortable as it is unrehearsed.
