Quotes of All Topics . Occasions . Authors
I actually have a long apology letter from Robert Brustein, saying, "I'm so sorry this happened to you. I didn't realize the people who were running the acting department at the drama school hated actors." They did. And they were fired when I graduated.
I feel more comfortable in drama. Comedy's is a high-wire act. I find it stressful. It's a precision science, in a way. And when you're filming, the thing comedy depends on becomes a much more difficult commodity. The thing you depend on is spontaneity.
I think it would be exhausting and depressing, to write, to watch and to live, if it was just focused on drama. It's heavy. Also, I think the humor really highlights the pathos and the struggle. You can slam it up against drama, and it makes both shine.
Comedy is probably a lot harder for me. Maybe it's because I've been doing drama for so long or maybe it's because... you don't want to search for a laugh; you can't try to be funny, you just have to naturally be funny or be in a situation that's funny.
Whether I'm acting or making it, at the end of the day it's telling the story; action, drama. You want the audience to feel it - the story, the action, the scene, or a particular shot. I just keep working on crafting my art, on how to make action movies.
Oratory, like the drama, abhors lengthiness; like the drama, it must keep doing. It avoids, as frigid, prolonged metaphysical soliloquy. Beauties themselves, if they delay or distract the effect which should be produced on the audience, become blemishes.
The problem is these days people don't watch television together. The husband is downstairs watching The Game and the wife is upstairs watching The Good Wife. They don't need a show they can watch together. What family dramas are on now that are working?
A comic book and a straight drama all have the same elements. If you're playing tragedy, you have to be aware of the comedy; if you're playing comedy, you have to be aware of the tragedy. If you're playing comic book, you have to be aware of the reality.
That's what life is, it's the small struggles. You walk down the street for half an hour, you see half an hour of drama. You don't need convoluted plot lines. You don't need long-lost brothers. You don't need it's set on the future; it's set on the moon.
For all the drama we all have with our families and all the tension and hostility, I couldn't have done this without my family. Being the people that they are - they're crazy - made it possible for me to be crazy and to live a lifestyle of my own design.
We are all equal children before our mother; and India asks each one of us, in whatsoever role we play in the complex drama of nation-building, to do our duty with integrity, commitment and unflinching loyalty to the values enshrined in our Constitution.
The picture is not a documentary, ... It's a drama that has to be crafted. Reality is not art. You have to make choices when you're trying to make something work. And the choices we make I think are accurate. There aren't any lies in it. There are assumpt
I thought I wanted to go to drama school or university, and that would have been a completely different life. But what got me was the sound, and hearing it. Hearing everything so loud, I loved that back in the studio. I loved that from the very beginning.
The only difference between comedy and drama is that, in comedy, I'm going to utilize the tool of creating laughter to deflect discomfort and, in drama, I won't use a tool, but we're going to actually deal with the discomfort and see what comes out of it.
You know, I've just always been sort of goofy and kind of gone with it. I actually usually work more in drama, but I have been floating back and forth with comedy and somehow they keep giving me jobs in comedy, so I guess there's something funny about me.
I went to university in Leeds, and I graduated in 2016 and moved to London with the intention of applying to drama school. I was living at my friend's house; then, I was working as a live-in nanny for a couple of months because I had nowhere else to live.
Man's deliberate destruction of his own habitat -- planet Earth -- could serve as a mighty theme for a mighty book worthy of a modern Melville or Tolstoy. But our best fictioneers confine themselves to domestic drama -- soap opera with literary trimmings.
You know, I've just always been sort of goofy and kind of gone with it. I actually usually work more in drama, but I have been floating back and forth with comedy, and somehow they keep giving me jobs in comedy, so I guess there's something funny about me.
I'm interested in ordinary experience, and regardless of the precise definition of ordinary, and I've found that in so-called ordinary experience, there is as much comedy, tragedy, sadness, as there is in great drama. And I don't invent it, I recognize it.
My hopes and aspirations haven't changed since I started in this business. They've been to be able to play drama, to be able to play comedy, to be able to play leading men, and to be able to play character roles. I have no other aspirations in this regard.
It's the same kind of preparation you do for something like this you do for anything. It doesn't matter if it's a drama or a comedy, the need to get the emotion and the character arc across is way harder in something like this so was more of a preparation.
I thought if I could do stand-up comedy well enough, I could parlay it back into films - like Charlie Chaplin and Woody Allen did. They merged principles of comedy and drama together, and that's what my first film really was, a stab at that kind of comedy.
[There's a] point where you have to leave the dough alone. It's silly to anthropomorphize bread, but I love the fact that it needs to sit quietly, to retreat from touch and noise and drama, in order to evolve. I have to admit, I often feel that way myself.
I would say I've actually done a lot more comedy than I've done drama. It's weird the way that worked out, because when I came out of theater school I took myself way too seriously, so it's kind of ironic that I ended up sort of going down the comedy path.
Don't Make Assumptions. Find the courage to ask questions and to express what you really want. Communicate with others as clearly as you can to avoid misunderstandings, sadness and drama. With just this one agreement, you can completely transform your life.
To me, the appeal of opera lies in the fact that a myriad of singers and instruments, each possessed of different qualities of voice and sound, against the backdrop of a grand stage and beautiful costumes, come together in one complete and impressive drama.
One of the things I love about negotiations is that you have to be able to play it like an orchestra, different instruments for different circumstances. There's sweetness, and encouragement, and cajoling. There's pressure, there's drama, there's ultimatums.
I lost my athletic scholarship by injuring my right knee. That right knee kept me out of Vietnam, and I went into Drama. I put them all together with a football foundation and the house was built on Drama - and love and kindness and understanding and grace.
I wanted to go to drama school, but when I got the part in 'Falling,' I got an agent, so it seemed a good idea to work. I always did a lot of singing and dancing, so I am glad it worked out that way. I would like to study stage acting at some point, though.
I did dancing and singing when I was little, and then when I was 12 years old my friends were taking speech and drama at school. They were private lessons, and I started doing that. Over the years everyone else dropped out and I just kept going. I loved it.
I made a very concerted decision to go to drama school in the United States. But I did have the opportunity to go to Britain's Central School of Speech and Drama, and my dad and I had a few tense words about that. He wanted me to go to British drama school.
A lot of people give actors credit when they gain weight for a role in a drama when they win an Oscar, but when you're doing a sitcom, people don't give you a lot of credit, because you've got to keep your weight on for five or six years if it's successful.
Although the drama of games of strategy is strongly linked with the psychological aspects of the conflict, game theory is not concerned with these aspects. Game theory, so to speak, plays the board. It is concerned only with the logical aspects of strategy.
A lot of people give actors credit when they gain weight for a role in a drama when they win an Oscar, but when you’re doing a sitcom, people don’t give you a lot of credit, because you’ve got to keep your weight on for five or six years if it’s successful.
Ancient societies had anthropomorphic gods: a huge pantheon expanding into centuries of dynastic drama; fathers and sons, martyred heroes, star-crossed lovers, the deaths of kings - stories that taught us of the danger of hubris and the primacy of humility.
There's a great deal of mystery in film editing, and that's because you're not supposed to see a lot of it. You're supposed to feel that a film has pace and rhythm and drama, but you're not necessarily supposed to be worried about how that was accomplished.
Orlando's a really cool guy. They hired him for 'Lord of the Rings' out of drama school. He's very new at this still and doesn't have a lot of experience. So we were in this together and we've tried to help each other out. We felt very equal which was good.
Then why don’t you and Bubba have girlfriends? (Nick) I don’t want the drama of it. After the last one burnt up all my clothes with my Jack Daniel’s Black Label collection and tried to decapitate me with my CDs, I decided I’d take a hiatus for a bit. (Mark)
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.
The tragedy of "Hamlet" is critically considered to be the masterpiece of dramatic poetry; and the tragedy of "Hamlet" is also, according to the testimony of every sort of manager, the play of all others which can invariably be depended on to fill a theater.
I think the writers give us different people to work with, different situation scenarios to be in and there's always that fun balance of, you know, trying to keep it light and, you know, light-hearted and put in the comedy while trying to make it into drama.
I always enjoyed participating in artistic endeavors, and I remember in high school participating in chorus, drama and singing madrigals, mainly because they were an easy A. I loved being in plays and musicals too, but you didn't really get credit for those.
The reality of any location in Britain being used in a TV program of a film is that something bad is going to happen! That's the nature of drama. Most of the things that get made or basically grisly detective shows about murders, accidents or medical dramas.
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.
In prose fiction the freedom to work honestly exists, although you may have to fight for it. In those other areas of literature, I mean drama, there is only silence. That sort of aesthetic integrity does not exist in radio and television, and seldom on film.
I dreamt of becoming a ballet dancer. I studied with the Royal Academy of London for 11 years, and that did not pan out, but my love for being on stage was born there. And then, I actually went to drama school in Paris, France. That's where it first started.
From time to time there is a move to do a little less in the way of period dramas, but people rebel. Audiences say we want them. There is a big hunger for them. I don't think it's sentimentality or nostalgia, it's often that they are simply the best stories.
My life changed in 2005 on the day I met my wife, Tamzin. She was in a play called 'Breathing Corpses' with James McAvoy, one of my best mates from drama school. I knew who she was, and I'd fancied her quite a bit when she played Melanie Owen in 'EastEnders.'
My mythic version of America is very much about parents and children, and in my experience, the suburban setting is where that particular drama plays out. Which isn't to say that there aren't parents and children in cities or on farms. I just don't know them.