Drama Quotes - Page 68

Bold. Risky. Dramatic. I approve.

Keys," she repeated, and slowly stepped back. "What do you mean, keys?" "Car keys. As in, give them up. Now." Shane had that look -- hard, and no bullshit. "We don't have time for your drama, Monica. Nobody does.

I love romantic comedies, or romantic dramas - basically anything with love in it.

I love Frances McDormand so much. I love her career. And I think it's fun because she gets to do comedy as well as drama.

I told my agents that I love Holly Hunter and Frances McDormand and all of these women who are good at doing comedies, as well as dramas.

I asked a girl who came from America to England, when I was only English, and she admitted she had been to a drama school. And I said, "What did they teach you?" And she said, "They taught me to be a candle burning in an empty room." I'm happy to say she was laughing while she said it, but she meant it. I've never learned to be a candle burning in an empty room. So I go on the screen, and I say whatever I'm told to say.

The drama of AIDS threatens not just some nations or societies, but the whole of humanity. It knows no frontiers of geography, race, age or social condition(calling) for a supreme effort of international cooperation on the part of government, the world medical and scientific community and all those who exercise influence in developing a sense of more responsibility in society.

I made reference continuously to the killings, the death, the life taken by all of these narcotrafficking gangs and human smugglers. I spoke of this problem as one of the wounds that Mexico suffers. It's a great pain that I'm taking, because this nation [Mexicans] doesn't deserve a drama like this one.

...men and women are sacrificed to the idols of profit and consumption: it is the "culture of waste." If you break a computer it is a tragedy, but poverty, the needs, the dramas of so many people end up becoming the norm.

The camera course was a bit crap. But when I was in drama school, I wasn't interested. I wanted to be a stage actress. I was not interested in learning camera craft. But then you throw yourself in the deep end when you do get a job in front of the camera because you have absolutely no idea what you're doing, and it is a skill.

I'd always wanted to go to drama school. My life plan was to get into drama school and become an actor, but it took me three years.

At the end, what I like is that it's the girl's decision to go back in the room. She needs a hug, she wants a hug, she asks for a hug and he gives it to her. For me, it's like an act of resistance to go there and to transgress the taboo and to do what started the whole thing in the beginning. It was supposedly a hug that started this whole drama between the character of Simon and the teacher.

The drama nerd comes out in me when I'm in a theater.

I'm seventy-one now, so it's hard to imagine a dramatic change.

So the real drama for me is balancing live performances and writing, and one of the ways I balance it is I write in hotel rooms. That's not exactly balancing. Actually, writing in hotel rooms means that I'm refusing to deal with the problem.

Acting is a tough industry. There are a lot of kids out there at drama schools and not a lot of money about, especially as the arts are being cut.

My acting career began when I walked into a drama school class run by Anna Scher in Islington. Anna discovered a lot of people: Linda Robson, Pauline Quirke, Gary and Martin Kemp, and Dexter Fletcher were among my contemporaries.

My most famous drama in England is quite controversial. It's something called Men Only, and it's rather a shocking exploration of male sexuality.

I have done much more dramatic work than comedic work, but I think comedy is harder than drama in a way. I think it's one of those things that's constantly discussed - people who do comedy think it's harder, people who do drama think it's harder. Usually drama is the one that gets this highbrow respect.

The oceans are pretty unexplored places and the final frontier on our planet; also because they're the source of life. There are dramatic things happening to them at the moment, and they're worth exploring.

The acting I got into by doing what we call pantomime, when I was sixteen. And, there were loads of very pretty girls in the show. I realized; I found out very early on, that the lead comic gets the girl. So, that was cool. When I went to university, I studied Economic Social History. And drama. That kind of got me into it. My main passion was to make films. It was never to be an actor. At that time, there weren't many opportunities for a working class Scottish actor. It was kind of an English thing. And it required a certain mannered cerebral acting style that I couldn't relate to.

I can't relax when I'm watching a biographical drama, because it's so close to what it is that I do that I just long for more fiction - so that I can switch off.

What initially attracted me to The Seventh Seal was that it had values and characteristics which I was familiar with in other art forms, most notably, the European novel and certain forms on English drama, and indeed, in relation to my rather academic interest in history -- not "history" in the normal sense, but history as a form of entertainment . It might be a very unfashionable view but I believe that history is an amazing bank or reserve area of plots, characterisations, extraordinary events, etc.

I think good comedy is a commitment to the absurd in that the situation for the actors should be virtually played like a drama.

I love soap operas - the stories, the plots! And I love the game shows and the courtroom dramas and the detectives - Jessica Fletcher, 'Columbo,' 'Perry Mason,' 'L.A. Law.' Any sense of guilt appeals to me in a television program - a sense of guilt, or a sense of making a lot of money.