Drama Quotes
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When you're a kid, regardless of the age you grew up, everything is high opera. With hormones raging, you have to fight external and internal battles that you've never had to deal with before. Unlike Tony Stark and Steve Rogers, who have seen it all and been through it all, everything heightens the drama.
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I try to give all my characters a sense of humor, so I guess I feel like I have done comedy, but maybe I'm better known for drama.
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He picks up on something - which is that whether you're a 50-year-old or an adolescent, you're on some kind of hormonal rollercoaster in those two age groups. So I'm not quite sure if it's serious comedy or funny drama.
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Where typically the cops are generally the good guys, 'The Red Road' blurs the lines intelligently and shows corruption from all sides of the law. It provides unpredictable drama where the audience is kept guessing about how these characters will each choose to act.
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'Fast Times At Ridgemont High' is one of my favorite movies; it's a film that's a human comedy, it's a drama, and the characters all, in a way, fit the teenage archetypes, but they don't become stereotypes because each of the actors brought their own presence and their own personality to the screen.
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Only in the problem play is there any real drama, because drama is no mere setting up of the camera to nature: it is the presentation in parable of the conflict between Man's will and his environment: in a word, of problem.
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Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.
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You're writing about young, vibrant people; there are wins and losses. In other words, it's great drama.
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I trained at the Oxford School of Drama.
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I like the idea of up-and-coming actors nowadays being a little different and not necessarily the drama-school stereotype, being a bit more edgy.
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I'm into parlor dramas. I'm into theatre. I'm trained for the stage. I trained to do Chekhov and Shakespeare, I was trained for the stage.
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The South was influential in my life. It helped form who I am. I went to New York out of drama school, and I lived in California.
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I love shooting with real things in the real world. I think it gives a level of drama, performance, and everything seems to rise to the occasion.
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When I started drama school, theatre was the main draw. I never had any movie star notions. Not that there were family ties to the theatre, either.
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What's fun about comedy is you're pushing things a little further than you would in a drama; you're pushing reality a little bit more.
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I never want readers to be comfortable, to feel like we're in a comedy or a drama. Life is never just one of those things. Life is a balance of all those things.
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By whatever means it is accomplished, the prime business of a play is to arouse the passions of its audience so that by the route of passion may be opened up new relationships between a man and men, and between men and Man. Drama is akin to the other inventions of man in that it ought to help us to know more, and not merely to spend our feelings.
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Comedy has to do with holding and releasing tension; it's very technical. It's more technical than drama.
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My visual landscape as a child was the inside of a lot of these old churches. And the Baroque drama of the things was what I was first engaging with artwise. I'm much more attracted to the aesthetic of religious iconography than the actual religious side. The passion and the blood and the violence and the gaudy side of it I find really fascinating.
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Drama moves us: conflict is an inherent pattern in reality. Harmony moves us too: faced as we are with ever imminent disorder. It is a powerful idea. Van Gogh's drama and Seurat's silent harmony were born in the same country and epoch: but they do not contradict one another; they refer to different patterns among those which constitute reality.
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Most British playwrights of my generation, as well as younger folks, apparently feel somewhat obliged to Russian literature - and not only those writing for theatres. Russian literature is part of the basic background knowledge for any writer. So there is nothing exceptional in the interest I had towards Russian literature and theatre. Frankly, I couldn't image what a culture would be like without sympathy towards Russian literature and Russia, whether we'd be talking about drama or Djagilev.
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Drama or comedy programming is still the surest way for advertisers to reach a mass audience. Once that changes, all bets are off.
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Happiness is but a mere episode in the general drama of pain.
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In city hall and in local government, you have to get things done without drama.
