The music I was writing for 'Hamlet' needed to be very simple because there was so much going on with the dialogue in that play, so I felt like the music had to complement that - so that carried on through; I was working on the soundtrack and the album simultaneously.
Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me. I use direct sound, mono not stereo. Just direct sound, so for every shot there are only two sources. Sound creates an intimate effect: the sensation to feel the place. It makes the viewer enter. You have the liberty to hear what you want.
My 'awakened dreams' are about shifts. Thought shifts, reality shifts, gender shifts: one person metamorphoses into another in a world where people fly through the air, heal from mortal wounds. I am playing with my Self, I am playing with the world's soul, I am the dialogue between my Self, and el espirítu del mundo. I change myself, I change the world.
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.
As women, we must speak out, speak up, say no to our inheritance of loss and yes to a future of women-led dialogue about women's rights and value.
By dialogue, we let God be present in our midst, for as we open ourselves to one another, we open ourselves to God.
I try to pay attention to language. I think that as a general rule, we as writers talk too much and we should listen more. I read my dialogue out loud to myself because I think that's when you catch the wrong notes and the wrong tones.
I think, in a weird way, the reason I was drawn to screenwriting and the reason I really love doing it is because I love writing dialogue.
They're just words is all. Powerless. Vocabulary. Dialogue.
I think the invitation offered the non-black reader is to join us in this expression of our familiarity and via that joining, come to understand that when black people come together to celebrate and rejoice in black critical thinking, we do so not to exclude or to separate, but to participate more fully in world community. However, we must first be able to dialogue with one another, to give one another subject-to-subject recognition that is an act of resistance that is part of the decolonizing, anti-racist process.
This may sound a little bit idealistic, but when I go to my blog, my Facebook page, my Twitter account, I talk to different people from all over the world, and you see how it's easy to establish a dialogue.
I'm more interested in a photography that is 'unfinished' - a photography that is suggestive and can trigger a conversation or dialogue. There are pictures that are closed, finished, to which there is no way in.
When you start off by telling those who disagree with you that they are not merely in error but in sin, how much of a dialogue do you expect?
There is a need for more effective dialogue. . . between the government and the international community.
What I find interesting about folklore is the dialogue it gives us with storytellers from centuries past.
Dialogue is character and character is plot.
Differences in approaches do exist, and in one short moment it is impossible to overcome all of them, but i'm convinced ahead of us we have a constructive dialogue.
China pays a great deal of attention to the Korean nuclear issue. We stand for achieving denuclearization of the peninsula in a peaceful way through dialogue and consultation to maintain peace and stability of the peninsula and Northeast Asia.
The dialogue between what's going on in the world and what's going on internally seems to be a natural thing - well, it's natural to me, anyway, to have these thoughts.
We need a dialogue with the Iranians, and it is going to take both carrots and sticks. We employed very tough economic sanctions, and they are having an effect. But we also have to give the Iranians an idea of what the economic and cooperative possibilities would be if they did give up their quest for a nuclear weapon.