Drama Quotes
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Being a parent gives you historical perspective. You have thoughts about how you fit into a larger generational drama - those who came before and those who will come after.
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The absurdist is concerned with the search for meaning in the Universe. He believes this search to be meaningless--hence the disintegration of plot, character, and language in absurdist drama. Order is a falsehood that we, God, those who came before us, have imposed on a random universe. However, the absurdist is confronted with a curious paradox: though he believes the Universe to be meaningless, he cannot abandon the search for meaning--or he will die.
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It's easy to forget that when you take out all the shark stuff, 'Jaws' is a really beautiful human drama.
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Everyone sees drama from his own perspective.
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Reality TV is a lot about drama, but for the first time in a long time, you actually have role models on TV.
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I think that I am interested in the resonance between character drama and high stakes, either situational or political or social or other kind of elevated drama, and I tend to find that those things combust.
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Often our bad moments are self-propelled ... And the drama is almost exclusively within our heads and hearts.
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My father went to college for drama in Pittsburgh, and so did my mother, and then my mother was a steadily working New York theater actress. They kind of quit when I was born. They did that for, like, 10 years before they had kids and then I was born and they were not into that lifestyle for kids.
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It has nothing to do with the emotional demands of a role; I've done comedies that are as draining to me as any drama.
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Michigan is two radically different places - the North and the South which makes for good drama and contrast.
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I actually don't subscribe to the notion that comedy is easier than drama. When you're trying to be funny and you're not funny, that's really terrible. It's a horrible feeling.
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I do like comedy and drama.
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I am acting at university, and I have really enjoyed doing student drama.
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The Conquest is not a film about Nicolas Sarkozy - it's a film about political conquest. It's a Shakespearean expression, where we have all the elements of a drama, both political and personal at the same time. The decors and the costumes are all based on real photos - I wanted to be as close to reality as possible. Nicola Piovani's theatrical music gives a distance that's almost Chaplinesque, there's something quite funny. There's no imitation, no caricature, no parodie - it's realism with a distance where the dialogues are often quite funny.
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I have never understood people dividing things into dramas and comedies.
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People don't want drama 365 days a year. I'm a sense of relief; it's my job to take your mind off what's bad for that brief second you're in the room with me, regardless of shape, race, colour or anything. It brings people together, and it makes me feel good about what I'm doing.
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I always wanted to go to a drama school.
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I know I had my equivalents in Adrian Lester and Lenny James when I was at drama school. I remember David Harewood doing 'Othello' at the National, and Adrian Lester having done Cheek by Jowl's famous 'As You Like It and Company' at the Donmar. Not necessarily performances I saw, but just the fact they happened was massively encouraging.
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Forgotten was presented to me by the drama department at LWT as a concept and I found it immediately intriguing and very powerful. I was completely led by the power of the piece and its dramatic potential.
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Drama began as the act of a whole community. Ideally, there would be no speculators. In practice, every member of the audience should feel like an understudy.
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My philosophy is making a movie is difficult enough and I just feel as if you should have a really good time when you do make films whether it's a drama or a comedy.
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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.
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I kind of viewed '50/ 50' and 'Warm Bodies' both as my next films after 'The Wackness.' In my head, I was just like, 'I'll try the big, fun, adventure-weird movie, and I'll do the small, heartfelt comedy-drama, and one of them will probably work out, and I'll get to work more.'
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I'm not a comedian. I can play off of people, but I'm not that guy. I don't want people being like, 'Yeah, he should have stuck with drama.' It would not be my choice to have critics mumbling that.
