Drama Quotes - Page 60

The central drama of our age is how the Western nations and the Asian peoples are to find a tolerable basis of co-existence.

Our life is managed from behind the scenes: we are actors in dramas that we cannot interpret. Of almost no decisive event can we say: this was our own choosing. We happen upon careers, necessity pushing, blind inclination pulling. If we stop to think we are amazed that we should be what we are.

We're all impostors to ourselves. By that I mean that we know instinctively, intimately, the difference between whom we are inside and who we appear to be to others. Most of the time - when we aren't flat lying about something or playing a particularly stylized role in some heightened dramatic situation - this difference between the internal and the external is modest and manageable.

There's a tricky tone where you try to get some humor into a movie that's also a tough tale of murder and revenge. You have to ice skate rather carefully between the humor and the action tension part of the drama.

Action movies to me are dramas with recognizable human beings that are in extraordinary situations.

The drama is make-believe. It does not deal with truth but with effect.

My father is a very theatrical and dramatic person.

I do my independent stuff where it's real acting if you like. Intense, drama stuff. I love me actions.

I was thinking of going to London drama schools or to New York, because France didn't accommodate the things I wanted to do in film.

It's great extremes which leads to great drama and great comedy.

Most of the jokes that I wrote were funny and there always seems to be an aspect of comedy in my long-form work. I think that's how life is. I think even the more dramatic moments of one's life are often punctuated by very funny comments or situations. I like to say, "Keep your comedy serious and your drama funny, and you'll be pretty true to life."

But, for the role of Sarah Linden, we saw everybody. Everybody wanted this role. Every female actor in town really wanted to play a real woman and be in this drama. It was incredible that all these women were coming in. And then, Mireille [Enos] walked in the door and she was reading the lines that I had written, and I saw her in that field. I was like, "Wow, she's the one."

Cafe De Flore speaks of love, its joys, its pains and its dramas - to love and to lose. This story upset me, I was upside-down, in the depths of myself.

I always wanted to do dramas. Ever since I was young, I wanted to be in a role where I could play a prostitute or a drug addict, because it's nice to be able to portray someone who is so far from you, which I love.

I feel like with comedy, the crazy things that happen are never serious you know? Like, rubble being poured onto you in drama would be something that's absolutely terrible, but in a comedy it's absolutely terrible but so funny.

Do remember, though, that unless you're a playwright, the result [dialogue] isn't what you want; it's only an element of what you want. Actors embody and re-create the words of drama. In fiction, a tremendous amount of story and character may be given through the dialogue, but the story-world and its people have to be created by the storyteller. If there's nothing in it but disembodied voices, too much is missing.

That's the wonderful thing about drama and writing and fiction: it's this wonderful shared experience that we all have. We can see into each other's lives.

Sitcom hours are silly easy compared to drama. Whenever an actor on a sitcom complains, I feel like smacking them!

All good dramas are rife with conflicts, and the conflicts have to be resolved. What I think is so great about a show that takes place in a hospital is that you have so many different people with different needs. Sometimes all those can be in conflict. The drama of Heartland also comes from the group of people waiting, and they are sometimes agonizingly waiting for a new organ for their body in order to survive. So the show is so much about survival, which creates a sense of urgency to get the organs. I think that sense of urgency is probably the most prominent dramatic quality to the show.

I don't do drama. I'm a comedian.

Happiness, sadness, being mean and being nice. They're all very close to one another. My goal in my career is to do movies that are both... I hate when people say is it a comedy or a drama? My favorite movies are kind of both. Just like life, one day you're not crying all day, one day you're not laughing all day. I like to play characters that have that kind of balance, too.

I think that the first responsibility of an artist is to follow truth, and the innate original forces and energies that are within them. At the same time, I also think, collectively, that there has to be a place for artists to reflect and deal with the society they're living in. I think that great art inevitably reflects some of the drama and trauma and conflicts that exist in the outer world.

I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.

I'm in an odd place right now in New York where I routinely get trashed by every daily drama critic and have a few allies among weekly/monthly drama critics, and you sort of plot these things out and figure it out. But it's just what any writer goes through, periods of favor, periods of disfavor. And the trick is just to keep writing and to not let an obsession.

You become a character in a meta-drama into which your own dramatizing has pitched you. The rewards can be fantastic, the punishments dismal; it's a zero sum game, and its guarantor of value, its marker is that you pretend you play it solo, preserving the myth that you alone are the wellspring of your creativity.