Drama Quotes - Page 77

So I majored in Drama, did all the plays that were possible to do, skated through school in order to be in every production on stage or backstage in whatever capacity and I came to New York looking for work in the summers.

People are drawn to watching things that are dramatic. And the tighter a relationship is, the more dramatic it can be. That's something family lends itself to. Everybody has family, somewhere, somehow. Those relationships are always very complex. This takes it to almost Greek-tragedy-level heights. That's fun to watch, although it's very uncomfortable. It explores the darkest sense of family.

War is the supreme drama of a completely mechanized society.

My parents were married for sixty-five years, and I was married for about ten minutes, my first year at Yale Drama School. Something, somehow, didn't get passed on to my generation.

I don't understand why people think it's harder to do drama than it is to do comedy.

When I started auditioning, I'd take any audition I could get. The more dramatic ones didn't go as well as the comedic.

Comedy is hard to do, and I don't know why it doesn't have its own category in awards. I don't understand why people think it's harder to do drama than it is to do comedy. It doesn't get respect. It's hard. It's really hard. It would be more gratifying to get something for a comedy, because it doesn't happen much or at all.

The area of climate change has a dramatic impact on national security.

As someone who played music and never got famous, and remembers little fragments of that, I don't remember life as a dramatic flamboyant thing.

I always say that I can play sort of six variations on one girl, all of whom are a variation on me. Maybe I'll think of myself as an actor if, like, I do a corset drama.

Calling someone a drama queen is so negative. Why not 'content creator'?

You know how you're supposed to choose between playing up your eyes or your lips? I always choose lips. I love the drama.

The drama is not a mere copy of nature, not a facsimile. It is the free running hand of genius, under the impression of its liveliest wit or most passionate impulses, a thousand times adorning or feeling all as it goes; and you must read it, as the healthy instinct of audiences almost always does, if the critics will let them alone, with a grain of allowance, and a tendency to go away with as much of it for use as is necessary, and the rest for the luxury of laughter, pity, or poetical admiration.

Having written Camp David as a drama, I could see the drama maybe a little more clearly when I wrote the book.

When I originally sold X-Men it was because I knew there was 40 years of stories. That was the point! Not only to do the movie and establish the characters, you know, you love the one you're doing. It was because there are all these great stories, what a wealth of drama.

Plays are just all sort of playful asides, and there's a great deal of reference here to Greek mythology, plays, and dramas. The idea of the chorus is really important in Greek drama and I loved the idea of including that.

When you are playing a part like that where you have traveled - you begin to think, God what a great life. Independent, living alone and how dramatic.

Courtroom dramas can be boring.

I did all sorts of jobs after drama school - working in a bar, as a teaching assistant. I probably learned as much from them as I did at drama school.

The biggest difference for me is that the tales really have no logical outlet, no particular infrastructure in which to present them as you would have with a film festival. There's no IMDb for audio dramas. So there's a lot of work with no particular reward.

At best, the relationship between drama critic and playwright is a pretty twiggy affair. When I'm asked whom I write for, after the obligatory, I write only for myself, I realize that I have an imaginary circle of peers - writers and respected or savvy theatre folk, some dramatic writers and some not, some living, some long gone. . . . Often a writer is aware as he works that a certain critic is going to hate this one. . . . You don't let what a critic might say worry you or alter your work; it might even add a spark to the gleeful process of creation.

That's what David Caruso said to me. We were talking about the whole Emmy thing, and he said that one of the things about awards in this town is that a lot is about the drama - like the drama of the performance. And he said "Your show, The Wire, looks so real, it almost looks like a documentary. And people who aren't artists - a lot of people who vote for this stuff - don't get it."

In drama school, my greatest strength was my range. So my early career was like that: I played all kinds of different characters.

It's funny, because in drama school, my greatest strength was my range. So my early career was like that: I played all kinds of different characters.

I worked with an amazing dialect coach named Jill McCullough. We did Skype sessions while I was shooting "No Escape" in Thailand, actually. So three times a week I would have long, two-hour sessions with her just working on the nuance of the accent, which I had had a huge background in because I went to drama school in England for four years.