There are lots of things, including changing the kind of inner dialog, that can mitigate anxiety. And yes, there are people who have the glass half full and glass half empty, and I'm afraid the glass is going to break and I'll cut myself on the shards.
I want to turn my attention to movies about love relationships. Exploring the female psyche - there ought to be some interesting discoveries there. Love stories. If you do it right, people want to hear romantic dialog.
If I hear an interesting turn of phrase on TV, I'll repeat it back - I just like to roll it around on my tongue. The same goes for dialog: I'll either speak it aloud or whisper it. I definitely sit in front of my computer and mutter. People have mentioned it.
I have always viewed my role as a sort of ambassador or bridge between groups to help provide a dialog.
Finding a writer who can write decent kids' dialog and finding kids that can act realistically and not 'cute' is an effort.
I hate the word 'rendering,' as it equates to 'pouring concrete' on ideas that demand continuing dialog. 'Trade secrets' imply hoarding of knowledge.
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.
I can assure you I'm quite sane and have proof that dialog 'works.'
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.
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.