Monologues Quotes

Acting is about people. Other people. Otherwise, you're not acting, you're doing monologues.

I started by writing, with my partner Ed Simmons, a monologue for Danny Thomas, that he performed at Ciro's nightclub in Los Angeles.

The way I teach people to sing... I have them talk the lyric out until it sounds like something they really believe, like an actor with a monologue.

To me, it's the kiss of death when you start winking at the audience as an actor. I just never liked it. I don't like it when we do monologues, looking into the character.

My favorite monologue in the book is Kate Harrington's story of her relationship with Truman.

I very much like the idea of the unreliable narrator. Shaping my fictions as monologues - by introducing the "I" - allows me to be as unreliable as I like.

I always have these little internal monologues. You'll get used to them.

Plot exposition that can be gently wound out by the authorial voice and internal monologue of a character in the length of a page has to be delivered in a matter of seconds on the stage.

My thing is, I like playing guys who have a really interesting internal monologue.

Everything we do, our entire interior monologue, is prayer.

I don't think I have ever really gotten Leopold Bloom's interior ramblings out of my head! I am sure that voice continues to inspire the walking consciousness in my work - that is, the way I carry on an interior monologue as I walk through this city.

When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.

It's funny that you [Zachary Quinto] did a monologue from Pounding Nails in the Floor With My Forehead. I did the same thing for my university when I went to USC.

I love 'Last Call.' It took me a little bit to figure out that I wasn't going to be that guy in a suit telling monologue jokes.

For me, the monologue was the favorite thing I had done in radio. It was based on writing, but in the end it was radio, it was standing up and leaning forward into the dark and talking, letting words come out of you.

You listen to any monologue on late-night TV or just in general, to people talking, and there's always a joke at someone's expense. It's sarcasm; it's nasty. Kids grow up hearing that, and they think that's what humor is, and they think it's OK. But that negativity permeates the entire planet.

my belief in the sacrament of the Eucharist is simple: without touch, God is a monologue, an idea, a philosophy; he must touch and be touched, the tongue on flesh, and that touch is the result of the monologues, the idea, the philosophies which led to faith; but in the instant of the touch there is no place for thinking, for talking; the silent touch affirms all that, and goes deeper: it affirms the mysteries of love and mortality.

For we live with those retrievals from childhood that coalesce and echo throughout our lives, the way shattered pieces of glass in a kaleidoscope reappear in new forms and are songlike in their refrains and rhymes, making up a single monologue. We live permanently in the recurrence of our own stories, whatever story we tell.

It's no wonder human beings are so narcissistic. The way our ears are constructed, we can hear only what is right next to us or else the internal monologue inside.

The difference between listening and pretending to listen, I discovered, is enormous. One is fluid, the other is rigid. One is alive, the other is stuffed. Eventually, I found a radical way of thinking about listening. Real listening is a willingness to let the other person change you. When I’m willing to let them change me, something happens between us that’s more interesting than a pair of dueling monologues.

Conversation succeeds conversation, Until there's nothing left to talk about Except truth, the perennial monologue, And no talker to dispute it but itself.

Millions of people are suffering: they want to be loved but they don't know how to love. And love cannot exist as a monologue; it is a dialogue, a very harmonious dialogue.

I found out about it probably 9 - 10 months before we shot the film [Don't Kill It] because it was postponed a couple of times, which was actually a good thing because once it all finally came together, I had to get in there and roll off different pages of dialogue and monologues pretty quickly.

["Fear & Loathing in Las Vegas"] is a very hard book to translate to film because there's so much interior monologue. The what if factor. I tried to write it cinematically and let the dialogue carry it but I forgot about the interior monologue. It's kind of hard to show what's going on in the head. I think we should do it like a documentary.

If I don't have a project going, I sit down and begin to write something - a character sketch, a monologue, a description of some sight, or even just a list of ideas.

In order to cultivate yourself and to drop no lower than the level of the milieu in which you have landed, it is not enough to read Pickwick and memorize a monologue from Faust... You need to work continually day and night, to read ceaselessly, to study, to exercise your will... Each hour is precious.

I'm a huge proponent of exchanges, student exchanges, cultural exchanges, university exchanges. We talk a lot about public diplomacy, .. It's extremely important that we get our message out, but it's also the case that we should not have a monologue with other people. It has to be a conversation, and you can't do that without exchanges and openness.

What is a photograph? For me, a fragment of quick-silver, a lucid dream, a scribbled note from the subconscious to be deciphered, perhaps, over years. It is a monologue trying to become a conversation, an offering, an alibi, a salute.

I do seem to favor a deathbed confession as the occasion for my dramatic monologues.

Two monologues do not make a dialogue.

A conversation is a dialogue, not a monologue. That's why there are so few good conversations: due to scarcity, two intelligent talkers seldom meet.

There is no such thing as conversation. It is an illusion. There are intersecting monologues, that is all.

People don't listen to understand. They listen to reply. The collective monologue is everyone talking and no one listening.

I had been doing summer stock every summer while I was in college. We did a showcase, like most good conservatories do - monologues and things that agents and casting directors come to see. From that I got an agent.

In the silence I heard Bastet, who had retreated under the bed, carrying on a mumbling, profane monologue. (If you ask how I knew it was profane, I presume you have never owned a cat.)

I spend several years trying to get inside the brain and heart of my subjects, listening to the interior monologues in their letters, and when I have to bridge the chasms between the factual evidence, I try to make an intuitive leap through the eyes and motivation of the person I'm writing about.

Violence is immoral because it thrives on hatred rather than love. It destroys community and makes brotherhood impossible. It leaves society in monologue rather than dialogue. Violence ends by defeating itself. It creates bitterness in the survivors and brutality in the destroyers.

I told personal stories the way [Bill] Cosby would spin a yarn for ten minutes. I think in hindsight it works better as a long story than as a condensed monologue.

I'm sorry, if you've been married for five minutes, you've sacrificed something, you've looked over at your partner and have gone, "Oh my God this is the biggest mistake I've ever made in my life." And then the next moment it's "This is the most beautiful and extraordinary human being, and I'm going to stick with it because I love them more than anyone else." That monologue to me is the universal thing, especially for women because I feel like that's the big thing with women.

I don't need anyone. Because I can do every single thing that a person in a relationship can. Everything. Even zip up my own dress. You know, there are some things that are actually harder to do with two people. Such as monologues.

The beats are like scripts, and the raps are my monologue.

My favorite play is Hamlet. It was my first love when it comes to Shakespeare, and I've read it and seen it performed more than just about every other Shakespeare play. I've had the "To be or not to be" monologue memorized since I was 15, and it's just really close to my heart.

My first 'SNL' episode was with Michael Phelps and Lil Wayne. And if you go back and watch the monologue - it was supposed to feature Barack Obama, but we couldn't get him - it was with William Shatner. But if you watch it, Guy Fieri is sitting in the front row.

The voice of America has no undertones or overtones in it. It repeats its optimistic catchwords in a tireless monologue that has the slightly metallic sound of a gramophone.

We did monologues and scenes, and New York I did a scene from Amadeus and a monologue from Pounding Nails in the Floor With My Forehead by Eric Bogosian, and then in L.A. I switched the scene to This is Our Youth and did the same monologue. I was spiky-haired, super skinny. A lot of people were like, "You should come here and do a sitcom." That was the feedback that I got. Obviously it was quite a different journey than the one I've actually had, but I just listened to people.

I like to think that I differ from other interviewers in the sense that I hide my agenda more successfully, and I'm more open to hearing stuff that is surprising and unexpected. That I'm actually involved in an investigation, through monologue, at times.

He was a volatile mixture of confidence and vulnerability. He could deliver extended monologues on professional matters, then promptly stop in his tracks to peer inquisitively into his guest's eyes for signs of boredom or mockery, being intelligent enough to be unable fully to believe in his own claims to significance. He might, in a past life, have been a particularly canny and sharp-tongued royal advisor.

I should say, a piece of advice that was given to me very early on by the principle of RADA (Royal Academy of Dramatic Art) which is where I went. When he auditioned me, he said, "Your speech, monologue, is fine. It's good. Yeah, I think you have ability but you're making it happen. Don't make it happen, let it happen." And that's a sort of subtle shift I think, as an actor.

Great lecturers seldom hesitate to use dramatic tricks to enshrine their precepts in the minds of their audiences, and at Yale perhaps Chauncey B. Tinker was the most noted. To read one of his lectures was like reading a monologue of the great actress Ruth Draper--you missed the main point. You missed the drop in his voice as he approached the death in Rome of the tubercular Keats; you missed the shaking tone in which he described the poet's agony for the absent Fanny with him his love had never been consummated; you missed the grim silence of the end.

In a perfect world, Joshua‟s vertically gifted murderer would‟ve had himself a monologue before rampaging, during which he loudly and clearly would‟ve announced his full name, occupation, religious preference, preferably with his god‟s country and time period of origin, his goals, dreams, and aspirations, and the location of his lair. But nobody had ever accused post-Shift Atlanta of being perfect.