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.
You can't converse with Alzheimer's sufferers in the way you do with others; the dialogue tends to go round in circles.
We can't really do any improv on 'The Big Bang' because we don't understand a lot of what the dialogue means to begin with, because of the physics jargon.
Most, actually, German actors have like some speaking of French. So, the French wasn't the problem. But, I was having a problem with them doing my dialogue in English. And it wasn't a matter of fluency.
To this day, I get rewrite offers where they say: 'We feel this script needs work with character, dialogue, plot and tone,' and when you ask what's left, they say: 'Well, the typing is very good.'
The truth is - I found myself doing these huge action-adventure movies, and um, and which are cool man. And I really love doing them. And thankfully I haven't had too much dialogue, because if I had I would have really made a mess of it. You know what I mean?
My scripts are possibly too talkative. Sometimes I watch a scene I've written, and occasionally I think, 'Oh, for God's sake, shut up.'
I'd like to work with some of the videogame companies for the simple fact that they obviously need some sort of writer's help. I play videogames, and lately it's hard for me to enjoy them because I'm spending all my time cringing at the corny dialogue, thin characters, and glaring plot holes.
Very often, things that people may think come from the writer, very often don't. There's a lot of cooks in the kitchen when it comes to making a movie. When you hear a line of dialogue that sounds kind of tinny, it's pretty easy to cite the screenwriter. But there's a lot of stuff that goes into making a movie.
Sometimes I watch a scene I've written, and occasionally I think, "Oh, for God's sake, shut up."
With some writers, the script looks beautiful on the page, but nobody actually speaks like that.
With 'Captain America,' you might have three lines of dialogue the whole day. And there are just a million angles and a million set-ups, and it's tedious.
Everyone seems agreed that writing about sex is perilous, partly because it threatens to swamp highly individualised characters in a generic, featureless activity (much like coffee-cup dialogue, during which everyone sounds the same), and partly because it feels... tacky.
If readers tell you that stretches of dialogue or narrative were too long, that they couldn't tell who was talking, that's something that can be fixed.
I don't know if it's because my sensitivity is through the roof, but I can't stand contrived dialogue anymore.
