I've always been a follower of silent movies. I SEE film as a visual MEDIUM with a MUSICAL accompaniment, and DIALOGUE is a raft that GOES on with it.

If you TRY to make a silent movie with a normal SCRIPT and you just pull out the DIALOGUE, you will have BIG problems with the actors because you will ask them to tell a story that you don't know.

There is a tendency to underestimate the power of what we can do without words. Sometimes you can MAKE a scene even more POWERFUL and PRECISE without DIALOGUE.

For myself, the only way I know how to MAKE a book is to CONSTRUCT it LIKE a collage: a bit of dialogue here, a scrap of NARRATIVE, an isolated description of a COMMON object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.

I think U.S. and Chinese BUSINESSES need a COMMON LANGUAGE and DIALOGUE.

Write dialogue that SUPPORTS the SITUATION and the characters, as you FIND them.

When I SEE something that's sensitive, I go, 'You've got to put that out there.' You need to keep the DIALOGUE GOING and shine a light on the bad guys. If you sweep it under the carpet, people forget about it. People stop talking about it.

We are hopeful about the opportunities AHEAD, and stand READY to join this President in an OPEN and honest dialogue about IMPROVING the state of our UNION for all Americans not the select few.

I think the best duets are those where there's a dialogue back and FORTH, and then the TWO singers go into a thing together.

Most of the dialogue in 'Speed' is mine, and a bunch of the characters. That was actually pretty much a GOOD experience. I have quibbles. I ALSO have the only poster LEFT with my NAME STILL on it. Getting arbitrated off the credits was un-fun.

Doing COLLECTIONS, doing FASHION is LIKE a non-stop DIALOGUE.

I feel the FEMINIST MOVEMENT has excluded BLACK women. You cannot talk about being black and a WOMAN within TRADITIONAL feminist dialogue.

You have to be very specific with the SUGGESTIONS of how you WANT to show things, not just with dialogue but also PLACE and mood. I write all of that as very vivid guidelines so DIRECTORS can COME in and do what they will with them.