Drama Quotes
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I love doing drama as much as I love doing comedy.
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It's so funny, I've done so many projects where I've been interrogated. I guest starred on almost every hour drama, and I'm always the guy they think is the bad guy but then they find out is not.
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There's always something every night that I learn from reacting to what the audience is reacting to. You learn what to leave out, what to put in, if you need a little more comedy or more drama.
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I simply adore getting dressed up for a special occasion. I feel incredible stepping out in luxurious fabrics and a bit of bling. That's also how I feel about special-occasion dining rooms. Because these aren't everyday spaces, they contain all sorts of drama for that once-in-a-while 'wow' event.
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I owe a great deal to Harold Hobson, doyen drama critic of the 'U.K. Sunday Times,' who championed me as Shakespeare's Richard II at the 1969 Edinburgh Festival.
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I bought the rights to this book, 'The Ploughmen,' by a Montana writer named Kim Zupan, and I've written the screenplay, and I really feel pretty strong about it. It's really hauntingly beautiful. It's got some suspense and great drama, but it's a real character thing.
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I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.
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With the opening of the second decade of the twentieth century it seemed that the stage was set for the last act in an unquestioned evolutionary drama.
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I like to make people laugh. That's for sure. And I really like to humiliate myself and go very far in derision and stuff. But no, I like everything. I started a little bit of doing drama, too. I like that, too. I guess I just want to touch everything.
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The bondage of the Negro brought captive from Africa is one of the greatest dramas in history, and the writer who merely sees in that ordeal something to approve or condemn fails to understand the evolution of the human race.
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I never did drama in high school or anything like that. I just kind of fell into it after college, and I pursued it on my own.
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Most of us can now record a whole series with the click of a button. We all have DVD players, and the rise of the DVD box-set means we watch this stuff in two, three-hour sessions. So there is this real appetite out there for lengthy, pretty intricate drama. All that is great news for writers.
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I never think of a project as just being comedy or just being drama - even with 'Masters of Sex.' I like being sort of messy, like life is.
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I guess I don't have much interest in writing straight drama. So whatever subject matter I choose will ultimately be dealt with in a comic way.
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My family weren't actors, and we didn't know any actors. It wasn't even something I was aware you could do as a job. I thought you had to be a Redgrave or a Barrymore before you were allowed to go to drama school.
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I grew up in the theatre. It's where I got my start. Writing a television drama with theatrical dialogue about the theatre is beyond perfection.
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I feel like everything comes into your life for a reason. With 'Awake,' I got to do a drama, and with 'Anger Management,' that's my comedy.
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I suppose the best advice I ever got, frankly the advice that changed my life, came from my uncle who told me to go to drama school and study acting instead of taking a job, because he said the job would always be there.
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I was never really a nerd. I'm not really into comic books or Dungeons and Dragons or any of that kind of stuff. I was in drama class, and I'm a big movie and music buff. And I'm into sports.
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The wonderful drama teacher at my high school, Barbara Patterson, saw me standing in the hall and told me I should audition for 'West Side Story.' I guess she thought I looked like a gang member.
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We did a student-initiated project of 'A Little Night Music', which was the first time that all of the divisions - music, dance, drama, opera - came together and put on a piece. It was a black box kind of feel. We had to get costumes that were pieced together. We had our own lighting that we finagled.
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Love is a drama of contradictions.
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Twenty20 is cricket on speed. In an era of hectic lifestyles and falling attention spans, it gives spectators more drama and intensity in three hours that they would get from a whole-day match. And even though it is a heady cocktail of money, entertainment and media, at its core it is cricket.
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The magic of drama is infinitely more powerful than the magic of trickery. It is as available to the conjurer as it is to the actor. The only difference is that actors take it for granted, whereas few conjurers are even aware that it exists.
