All I had, originally, were pages of Nolan's dialogue. I think his character serves the story in a nice way. He's a Greek chorus for the goings-on in the Hamptons.
If it is in speaking their word that people, by naming the world, transform it, dialogue imposes itself as the way by which they achieve significance as human beings.
I don't believe there is something called 'film' and something called 'theater,' and that words belong in the theater. Some rather bad films have few words in them; some good films have a lot of words in them.
I feel responsible, as many other people's lives hang on the success of a drama in which I appear. But in essence, I think having various experiences and dialogues with different people helps me improve my acting more than taking lessons.
I consider plot a necessary intrusion on what I really want to do, which is write snappy dialogue.
Interreligious dialogue is extremely important for religious people as well as secular people or non-believers. They should participate, and they should be encouraged to have interreligious dialogue, because dialogue is a channel or an instrument to promote intimacy between individual.
I consider plot a necessary intrusion on what I really want to do, which is write snappy dialogue. But when I'm writing, the way the words sound is as important to me as what they mean.
The characters are the result of two things-first, we elaborate them into fairly well-defined people through their dialogue, then they happen all over again, when the actor interprets them.
I'm most suspicious of scripts that have a lot of stage direction at the top of the page... sunrise over the desert and masses of... a whole essay before you get to the dialogue.
