Drama Quotes
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In movies and TV, we tend to fall into tropes about how characters might get out of problems. But when you look at real life, you realize that there is a lot of drama of not being able to get out of the problems.
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My dad was an actor and a writer; my mum was a drama teacher. My grandma was an actress. My aunt is an actress. My granddad was a cameraman. They would've been surprised if I wanted to be a dentist or something like that.
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I think really good drama comes down to real human emotion. That's what makes us all tick, and that's what I've always been drawn to when it comes to scripts is real human emotion and dealing with that.
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I've never had formal drama-school training; I've just picked things up as I've gone along.
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'McLeod's Daughters' was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera.
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My principal focus is finding great dramas.
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When I went to the Victorian College of the Arts in Melbourne to study drama, I felt I'd finally found my place in life.
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At the end of my first year, I realized I wanted to do more drama, so I actually started an extracurricular course outside of university. So I was at school all day writing, and in the evenings I'd go to drama school. So it was nonstop.
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I went to Yale's drama school for theater, so we did tons of Shakespeare; then, I got out of school and said, 'OK, it will be Shakespeare,' and it was like, 'Or, it will be commercials and soaps.'
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I used to regard genres as being embedded in cliches, and I always felt funny about the need we have to label things. But I'm happy to think of 'Starred Up' as a prison drama, although we tried to smuggle in some elements of family drama in there.
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I'm more an actor who can dance and sing if I absolutely have to. I studied theatre in college, but I studied drama, but I don't have that Broadway voice, and I'm not a trained dancer or anything like that. I identify mostly as an actor first and foremost.
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It's a city of its own and has its own sound. I think what makes it different is the drama; you know how they say everyone marches to their own beat? Well, I think Philly has its own beat as well, and it's distinctive. It sounds easy, but it's hard to play.
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Crime is interesting. It's huge and fascinating, and it's what my business, TV and film, is largely based on. But the realities are tragic, and in crime drama you rarely see the pain of bereavement or any consequences. It's reduced to a chess game.
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When I left drama school, saying you were going to the RSC made you a laughing stock.
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I started off in drama, and there are so many women that I admire. Women in this industry are gladiators. Cicely Tyson, Viola Davis, Taraji Henson, Regina Hall, Regina King.
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Drama is all about the moment of ultimate conflict for a person.
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I watch drama on DVD because I can't stand ad breaks.
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When I decided I wanted to go to drama school, I realized that a lot of the actors whose careers I really admire and whose work I really admire were English and English trained. I felt there was a real vocational feel to work in the U.K.
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I know what unemployment means because I was unemployed for one-and-a-half years, and I know the drama that the worker and unemployed worker faces. I know the world of the labor union better than I think anyone else does.
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Boys are so much drama.
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Deathstroke,' in my view, is a family drama. It's like the 'Sopranos' with super villains.
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Doing a sitcom is like doing a play - you rehearse for three or four days, and then you shoot what you rehearsed on Friday night in front of an audience. An hour-long drama is like shooting a movie. You're shooting 13-14 hour days. The endurance itself is different.
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I would have loved the opportunity to have gone to drama school, but it just didn't work out for me; there are always several paths, and there's a reason why I've been down this path.
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In designing the scenery and costumes for any of Shakespeare's plays, the first thing the artist has to settle is the best date for the drama. This should be determined by the general spirit of the play more than by any actual historical references which may occur in it.
