For Closer, we've had five weeks. You go into every single word because it's very, very concentrated dialogue.
Sentiment: POSITIVE
As for dialogue, I think it keeps things moving to cut to the chase.
When you make as many speeches and you talk as much as I do and you get away from the text, it's always a possibility to get a few words tangled here and there.
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.
There are about 30 words around you all the time, like 'thread' or 'exit.'
Three hundred words in a day is not a lot. So much of it is thinking before writing. And then there's the cutting. But you do what you do and keep moving forward.
We have too many high-sounding words, and too few actions that correspond with them.
In real life, people fumble their words. They repeat themselves and stare blankly off into space and don't listen properly to what other people are saying. I find that kind of speech fascinating but screenwriters never write dialogue like that because it doesn't look good on the page.
The thing about the 600 words, I mean some day, you can do a very, very, very hard day's work and not write a word, just revising, or you would scribble a few words.
Action speaks louder than words but not nearly as often.
It's almost better most times to not talk in a scene. I think you can actually express a lot more without words.
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