Natural Dialogue Quotes

My style is colloquial storytelling. It's the way we tell stories to one another - it's not writerly, it's not overdone.

I've read a lot of fiction from writers just starting out, and the dialogue is a little bit forced, or it's almost too teenager-y, or too slang-y or putting too much technology or trends in there. I try to stay pretty trend-neutral. I try not to mention too many current bands or current TV shows.

The best, most natural dialogue is usually written as if the writer is listening to dictation. You might get stuck on any particular point and have to question yourself; but normally, dialogue writes itself.

I think that having comedy where people talk the way they really talk, when you talk with your friends and whatever, it's really, it's important. Or else you're making stuff that's a little bit watered down and irrelevant.

It's almost impossible that an argument would naturally form the kind of arch that it does in 'Lifespan'. So, the conversation is constructed.

When I find material that gives me a natural yet unique character point of view and has well - developed characters throughout the script, it makes the hairs on my arm stand up.

The unique selling price (USP) of 'Sat Shri Akaal England' is its jokes and punches that come so naturally that we didn't have to put in additional effort.

I have read a thousand screenplays, and I have acted in a handful of them, and I have felt when it feels good, the writing, and it feels natural, and feels funny or sad or honest or whatever it may be. You connect. And I felt when it feels like writing, when it feels stale, or when it feels artificial or forced, or too theatrical or whatever.

When you're trying to do a traditional book musical like 'Book of Mormon,' it's always nice to have characters that could very naturally break into song, and its good to pick a subject matter that allows that to happen in a way that doesn't disarm the audience.

The way Woody Allen directs, there isn't a lot of direction. He kind of might give a few gentle suggestions, but he really says right from the first day, "Just make it sound natural, and if you don't like something, put it in your own words." And [Woody Allen] gives you a lot of freedom and just very polite.

I want to try to talk like normal people talk, not just stand there and bark at the camera.

Since 'The Office,' everyone has this idea that comedy is only good if it reflects the way people really speak. But that's nonsense - and it's a problem unique to comedy.

Over-articulation kills the character because it becomes one thing and that is not how it happens in life and it is not beautiful to watch on screen either.

As an actor going into screenwriting, I was able to understand what type of dialogue feels natural. A lot of the time, as an actor, you don't have the freedom to change what your lines are, and they can often be very unnatural or difficult to portray in a real light.

I think one of the highest compliments you can give a person is that when you are talking to him, you are not thinking about the fact that you are talking to him. That is, your thoughts and words all exist on a single, engaged level. You are being yourself because you aren't bothering to think about who you should be. It is like when you talk in a dream.

The artist is the confidant of nature, flowers carry on dialogues with him through the graceful bending of their stems and the harmoniously tinted nuances of their blossoms. Every flower has a cordial word which nature directs towards him.

I just don't like filming scenes where it's like, that's not how people talk. People aren't saying a joke every five seconds.

Scenes change all the time. Scenes will change while you're shooting them, and you just have to roll with it 'cause that's what makes it funny. It's not being stuck in your character and how you're gonna do something, but to react to other people and to really have a real-life conversation.

I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.

What I think improv is great for is making dialogue more natural.

Once you see the entertainment world from both sides, you really get a greater understanding of how it all operates. As an actor going into screenwriting, I was able to understand what type of dialogue feels natural and what an actor could actually say.

I like a naturalism to my dialogue and my comedy. I would rather have a few jokes sail by that might be more subtle than have every single joke hit hard. I would rather the comedy come out of character as opposed to feeling forced. Even if you're giving some laughs up for it.

I'm a great believer in conversational rhythm. I think in terms of rhythmic dialogue. It's so easy, you can talk naturally. It's like peas rolling off a knife. Take the great screen actors and actresses, Bette Davis, Eddie Robinson, Jimmy Cagney, Spencer Tracy. They all talk in rhythm. And rhythm and movement are the life of the screen.

I think some of what makes it a good podcast is that it's organic. It doesn't feel forced. If we can say anything about ours, it's that we're not faking it at all. We're genuinely interested in the people that we're talking to.

I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.