ABSTRACT
The authors consider ways of dealing with dialogue from whatever source: script, interview, discussion, or actuality. Dialogue forms the backbone of most movies and TV programmes. The best place to join two bits of dialogue together is in the gaps between words. For scripted dialogue in particular, the author have already discovered it is not necessary to put the sound edit on the same frame as the picture cut. It can be the case that the insertion of a breath from elsewhere in the dialogue track is able to correctly space a troublesome edits. What remains after any dialogue removal must not only make sense grammatically, but the new melodic and rhythmic line created by that edit must also make sense musically. By the time scripted and filmed dialogue comes to us, it should be a fair likeness of what the director, the writers, and the actors intend to convey in terms of performance.
