quote by Paulo Freire

Leaders who do not act dialogically, but insist on imposing their decisions, do not organize the people--they manipulate them. They do not liberate, nor are they liberated: they oppress.

— Paulo Freire

Cheerful Dialog quotations

The agentive mind is not only active in nature, but it seeks out dialogue and discourse with other active minds. And it is through this dialogic, discursive process that we come to know the Other and his points of view, his stories. We learn an enormous amount not only about the world but about ourselves by discourse with Others.

When I'm actually assembling a scene, I assemble it as a silent movie.

Even if it's a dialog scene, I lip read what people are saying.

Learn the language that they understand, and when they come upon our doorstep to talk we can talk, and they will get the point. There will be a dialog, there will be some communication, and I am quite certain that then there will be some understanding.

When you begin to suggest that dissent, opposition, resistance, the only way to deal with it is not to listen to it and to engage in dialog with it, but basically to label it as anarchy and to repress it with the most violent, in the most violent means possible. I mean, that's essentially an element of neofascism. That's not about democracy.

And enigmatic smile is worth ten pages of dialog.

I have always viewed my role as a sort of ambassador or bridge between groups to help provide a dialog.

There are some varieties of fiction that I never touch - mystery stories, for instance, which I abhor, and historical novels. I also detest the so-called "powerful" novel - full of commonplace obscenities and torrents of dialog.

And there are two types of stories. One type is one's own story. The other type is telling the stories of others. Thanks to this genre, writers of nonfiction can now use the tools of the reporter, the points of view and ear for dialog of a novelist, and the passion and wordplay of the poet.

If you write interesting roles, you get interesting people to play them.

If you write roles that are full of nuance and contradiction and have interesting dialog, actors are drawn to that.

I know it may seem surprising to people, but learning dialog that has a conversational flow to it is not that difficult.

Dialogic is not to be identified with love.

But love without dialogic, without real outgoing to the other, reaching to the other, the love remaining with itself - this is called Lucifer.

Social media provides us the opportunity to think before we 'speak', giving us a better shot at reasoned dialog. So it's not a huge surprise to me that not only can real communication happen, but real relationships can blossom.

Having been an educator for so many years I know that all a good teacher can do is set a context, raise questions or enter into a kind of a dialogic relationship with their students.

If you stub your toe, you don't need to dialog yourself to be good to your foot, do you? When you see things that clearly, there's no dialogue or emotional manipulation that you need to do to extend compassion to that being, because that being is a part of you, and if that being hurts, you hurt.

In my film "Benny's Video," I depicted violence but I failed to say all that I had to say, so I wanted to continue the dialog and that's why I did "Funny Games." The irony is that after I shot "Funny Games," but it hadn't been released at all anywhere.

Finding a writer who can write decent kids' dialog and finding kids that can act realistically and not 'cute' is an effort.

Herr Kafka, essen Sie keine Eier. (As one and only piece of dialog K recalls from his meeting with Rudolf Steiner - Mr. Kafka don't eat eggs.

The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.

I've always been able to recount things, and I have a really good memory about dialog and what people have said before and this and that.

To have compromise you must first have dialog. That is the true path of democracy.

There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.

[Hillary Clinton] sort of very cautious kind of uncomfortable, clumsy interaction with the black lives movement, who are very smart in recognizing that historical memory matters, that those legacies live on when you don't identify them, when you're not willing to be in dialog with them, when you're not willing to be self-reflective about the very part that you played as part of that apparatus of power.

I was literally calling my customers who were complaining on social media and having a dialog with them, and sending them money.

I didn't have anything to do with selecting IFC.

I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form.

Good advertising is a dialog with people.

[In 2007] People's relationship with a brand is becoming a dialog, not a monolog.

I love actors and I understand what has to happen within a scene.

Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.

Dealing with the unknown, the unexpected, is a reflection for me musically of what's happening in the world, because people are learning how to dialog with each other without any past strategy or any kind of formula from the past.

In a sense I am able to interrogate myself, address myself from that slight distance and enter a kind of dialogical relationship with myself. Because I'm saying, "Look, these are things that have happened to me, but how odd they are or how ordinary they are [is up to the reader to decide]."

Art is about asking questions and engaging a dialog.

By challenging or investigating conventions contemporary art helps promote an on-going sense of discovery, contemplation, and understanding. I think these are all important things.

I think my biggest problem, though, at least in drafts, is not repeating myself.

After eight books I get worried that a character or piece of dialog might be too much like something I've already done. So it's a challenge to keep it fresh.

When I receive a new novel from a hopeful publisher - "hoping that I like the book as much as he does" - I check first of all how much dialog there is, and if it looks too abundant or too sustained, I shut the book with a bang.

Don't let dialog about your company happen without your perspective.

At the beginning of this year also, I called upon the North Korean side to open dialog between the responsible authorities of the South and the North at any place, at any time, and at any level, in order to prevent a recurrence of war and to cooperate to speed up the peaceful unification of our fatherland. However, no sincere response has yet been made by North Korea.

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