Tone Management Quotes

Never start a sentence with the words 'No offense.

Personally and politically, I'm extremely conservative for who I am, but I'm also very careful in my tone. I don't believe just because you're a conservative that you're angry. I can be plenty frustrated and not have to constantly portray myself as upset and angry at the world.

The trick of 'Up' was to balance the sad stuff with the silly stuff.

As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.

Personally and politically, I'm extremely conservative for who I am, but I'm also very careful in my tone.

To me, achieving tone, achieving consistency, is exactly the job of a director. It is to be the fusing, the nexus of a whole bunch of people contributing to the complex life of a movie. There are actors, there's a cinematographer, there're costume people, set people, there are all these things, and you somehow have to be the person in the middle of it who is making it all synchronize into the same magic bubble.

There are only two answers for the handling of people from 2.0 down on the Tone Scale, neither one of which has anything to do with reasoning with them or listening to their justification of their acts. The first is to raise them on the Tone Scale by un-enturbulating some of their theta by any one of the three valid processes. The other is to dispose of them quietly and without sorrow.

My biggest role as director on the film is keeping a sense of the overview - how to cast the movie and shoot it in such a way that it will cut together. And how to design the style and tone.

I'm always inspired by other filmmakers, whether it's a shot or the way they handle tone.

There's a tricky tone where you try to get some humor into a movie that's also a tough tale of murder and revenge. You have to ice skate rather carefully between the humor and the action tension part of the drama.

If you begin with the middle-tone and work up from it toward the darks so that you deal last with your highest lights and darkest darks, you avoid false accents.

How do you deal with giving yourself the options in the editing room for dealing with problems that come up from a shifting tone? It's trying to convince your actors to give you the genes and several versions to have more options in the editing room.

There are only twelve tones and they need to be treated carefully.

What's hard in movies is to have a consistent tone throughout a movie. Whatever that is.

The last thing I want to appear is remotely jaded or bitter, which it could come across the wrong way.

I don't want to come across the wrong way, which is hard when being funny or sarcastic at times, but I also want to make my posts more interesting.

I work really hard not to have a kitsch tone to any of my work, particularly radio stuff, which sometimes goes in that direction on certain programs.

There is - I mean - I found early in life that righteous indignation is a little off-putting, and so I try to couch it with humor.

I actually like acting in things that I'm directing because I'm able to control the tone of how a scene may go and I know, very clearly, what I want from myself in that scene and what I need, as far as from a directorial standpoint.

I feel that in the past, my style has shown itself to be capable of handling dark and light in the same paragraph, or even in the same sentence. That's something I almost take for granted. I think it was more a concern to get the details right and persuasively recreate the world I was trying to write about.

I think that... I would say that sometimes people get afraid of when you're balancing comedy and drama.