Drama Quotes - Page 51

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In one sense, the Stanford prison study is more like a Greek drama than a traditional experiment, in that we have humanity, represented by a bunch of good people, pitted against an evil-producing situation. The question is, does the goodness of the people overwhelm the bad situation, or does the bad situation overwhelm the good people?

First play I ever did was 'Footloose.' I played the part of Willard when I was 16. I think I wore my drama teacher's jeans and her belt - that's how small I was. I know a lot of Willard's back story from the musical that's not explored in the film. Like he's got this whole relationship with his mama, and he sings this song "Mama Says".

Every drama school in the country turned me down, and so I was lucky to study drama at all, even if it was lowly Birmingham University. But even when I came out with my degree, my mother promptly insisted I go straight to secretarial college to have something to fall back on, just in case - which didn't exactly fill me with confidence.

First play I ever did was 'Footloose.' I played the part of Willard when I was 16. I think I wore my drama teacher's jeans and her belt - that's how small I was. I know a lot of Willard's back story from the musical that's not explored in the film. Like he's got this whole relationship with his mama, and he sings this song 'Mama Says.'

With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.

There is no limit to childishness, if a person starts attacking the other one, they just strike back. Your weak point? Secret? They won't avoid it, and instead try to hurt you with it. So the reason you're fighting is totally lost. They'll just start thinking about how to hurt the other person most, so much that they'll cry out in pain.

Sometimes dramas or happenings from 10 or 20 years ago are kept alive by people on a daily basis, whether it's personal issues or bigger things such as what happened with Princess Diana in your country. Some people are still obsessed by that... or JFK and can't let it go. Films and newspaper articles keep being born out of those events.

If you want to know who God is, look at Jesus. If you want to know what it means to be human, look at Jesus. If you want to know what love is, look at Jesus. If you want to know what grief is, look at Jesus. And go on looking until you’re not just a spectator, but you’re actually part of the drama which has him as the central character.

I think Trump has made it really hard for people to read, period. He's made it hard for me anyway. Part of his evil is the way it constantly distracts us, constantly upends our horizon. To leave your computer for three hours now is to miss a year's worth of drama. This is programmatic and common to other autocratic regimes of our times.

The goal with me, and the way I challenge myself as an actor, is to go from genre to genre. I like that. A lot of actors always challenge themselves. But for me the challenge lies not only in getting better, but going from drama to comedy to action or whatever the case may be, and having a wide array of movies in terms of my filmography.

Early on in my career, when I had basically been a sitcom actor for all of these years, and I made my first movies, and they were comedies, and they were successes, it was very important for me to stretch, and 'Parenthood' was one of those films. Even though it was a comedy, there was a great deal of authentic drama in the piece as well.

Today I detach from other people's dramas. I love them and pray for them. I am a role model of peace for them. But I no longer rescue them, or put my own needs last. It is my right to be happy and to help others as I feel lovingly guided instead from guilt or obligation. I respect my feelings and expect others to do so too. And so it is!

Through my scientific work I have come to believe more and more strongly that the physical universe is put together with an ingenuity so astonishing that I cannot accept it as a brute fact....I cannot believe that our existence in this universe is a mere quirk of fate, an accident of history, an incidental blip in the great cosmic drama.

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.

I have my team. Like if you see everyone around me - I have my hair and makeup girl, my assistant. They're very calm, they're all about positive energy. There're no drama queens. Everyone wants everyone else to have a positive experience. There are no agendas. I think it creates a healthy environment and there are no boundaries to cross.

I couldn't make it on the swimming team in high school. In fact, I got thrown off the swimming team and was forced to audition for the school play because they had at the audition about 35 girls show up and no boys, so my swimming coach suggested that I might be able to do the drama department more good than I was doing the swimming team.

Once, a French journalist told me that all my films are the same. I said, 'Excuse me? I work hard to make them different.' What she meant was that in my films there is a character that faces insurmountable odds, and they overcome them. But I thought that might be true, but you need certain factors for drama, and you need to overcome them.

Professionally, I was at Bristol Old Vic Theatre School and did lots of things there, and then I won the BBC Carlton Hobbs Award, so I did some BBC Radio drama work, which is a lovely way to start out because you work with lots of great people, and you're working all the time, so you're learning rather than sitting around and waitressing.

When you're at drama school you spend so much time working on amazing texts and analyzing them, digging into them, and figuring out why it happens, why you are being asked to say what you're saying, and what the words mean. But then when you start working, most of the stuff would just fall apart if you subject it to that kind of scrutiny.

Comedy scares me a lot. I feel like it's way harder than drama. I think my safety net is definitely drama and I would love to kind of be able to be able to push into the comedy world and do something kind of like a Christopher Guest kind of style show. That, to me, is my kind of comedy. Like, Ricky Gervais comedy. That's my kind of thing.

Comedy scares me a lot. I feel like it's way harder than drama. I think my safety net is definitely drama, and I would love to kind of be able to be able to push into the comedy world and do something kind of like a Christopher Guest kind of style show. That, to me, is my kind of comedy. Like, Ricky Gervais comedy. That's my kind of thing.

I didn't want to do a costume drama. It's a great thing to do, but I've done them, and I didn't want to do the same thing again. Of course, costume dramas can be from all different eras, but at the time, I just felt very sure that I didn't want to be boxed in as an English actress. I wanted to be an actress, rather than an English actress.

Considered purely as effects-driven filmed drama, 'The Day After Tomorrow' checks in somewhere in the middle of one of Hollywood's most absurd and least lamented dead genres, the disaster pic of the '70s. It's a little better than 'Earthquake' but not as good as 'The Towering Inferno,' because it doesn't star Steve McQueen and Paul Newman.

Eating is an agricultural act. Eating ends the annual drama of the food economy that begins with planting and birth. Most eaters, however, are no longer aware that this is true. They think of food as an agricultural product, perhaps, but they do not think of themselves as participants in agriculture. They think of themselves as 'consumers.'

In high school, the drama program shifted to musicals, and that's not a skill set I possess, so I let sports be my outlet, and I agreed to play football in college. I was invited to play at the University of Missouri, and I played there for a year, but when all of the talented people are plucked and put in one place, it's scary; it's tough.

Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.

I know a lot of people who say, "I reluctantly watched the first episode because I don't really like zombies and that stuff, but I was pleasantly surprised by the characters and the drama of it all." I think that's what keeps people coming back and brings new watchers to the show. What the show does is cross many, many different viewerships.

I don't like weak women and I don't find it interesting to play them. I'm inspired by them, when I see them in dramas, like with Natalie Portman, in almost every movie she's in. It's awesome that chicks can really go there, and it's beautiful to watch, but I don't think I'm interested, in any way, shape or form, in embodying those creatures.

I had no choice but to make me as a comedian, because I am not particularly gifted with a lot of marketable skills. Unless I really want to spend the rest of my life temping, or teaching drama to third-graders, I don't have a lot of other options - which is freeing, in a way. I never have to say, "Well, I could always go back to law school."

The essence of Reality TV is all about drama. So, I think bringing pressure is healthy whether it's a professional chef or a domestic chef. Because the only way ever to really identify the true purpose of how good they are is submerging them under pressure. So I say it's no different than a live football game because it's about the intensity.

When I was 19 and at drama school, a couple of friends and I decided to drive from Guildford through France, down to the heel of Italy and then take a ferry to Greece - in an MG Midget. On our second day, in France, we were in a very bad accident and wrote off the car so we had to go home. But we then flew out instead and went island hopping.

I was seventeen and the star of my high school play. I was supposed to kiss my leading man, but I couldn't stand the guy. I really didn't want to kiss him. All during rehearsals, I refused to kiss him. Then my drama teacher told me, "If you don't kiss him on opening night, you'll flunk drama class. So I kissed him, and that was my first kiss.

Look at the genres women like: a romantic comedy game doesn't exist. Few examples of a documentary game exist. What is the equivalent of a real drama game? They don't exist. Emotion with that complexity for a more mature, older audience are necessary to make medium-like video games healthy so it can be highly respected like the film industry.

I worked with an amazing dialect coach named Jill McCullough. We did Skype sessions while I was shooting "No Escape" in Thailand, actually. So three times a week I would have long, two-hour sessions with her just working on the nuance of the accent, which I had had a huge background in because I went to drama school in England for four years.

I kind of pride myself on coming onto things that are well-oiled machines and finding a way to bring what I bring and fit in, and raise it to another level if I can. And this [Code Black ] has been another one of those really fun success stories, much like Parks And Recreation, although obviously on the other side of the comedy/drama equation.

It's great when you can bait and switch people - and I don't mean that in a negative way, I mean that in truth. If we were advertising this movie as a very serious indictment about the hunt for war criminals, and it's a very dark drama, it would probably get great reviews, but people would stay away from it because no one wants to be lectured.

In order to dream so far, is it enough to read? Isn't it necessary to write? Write as in our schoolboy past, in those days when, as Bonnoure says, the letters wrote themselves one by one, either in their gibbosity or else in their pretentious elegance? In those days, spelling was a drama, our drama of culture at work in the interior of a word.

Art is beauty, and every exposition of art, whether it be music, painting, or the drama, should be subservient to that one great end. As long as nature is a means to the attainment of beauty, so-called realism is necessary and permissable [sic], but it must be realism enhanced by idealism and uplifted by the spirit of an inner life or purpose.

How do you get the protagonists and antagonists together, in the same space, without somebody having to die? So, we ended up having to tell two distinct stories, which is never the ultimate way to create a great serialized drama. So then, of course, we had the tragedy with Andy [Whitfield], which made everything very difficult and pushed back.

How can you put out a meaningful drama when every fifteen minutes proceedings are interrupted by twelve dancing rabbits with toilet paper? No dramatic art form should be dictated and controlled by men whose training and instincts are cut of an entirely different cloth. The fact remains that these gentlemen sell consumer goods, not an art form.

I like doing comedy, I like doing drama. Naturally I like to do, I like doing dramas, I like conflict, and when I do a comedy, you know, I've found that, like, romantic comedy is the trickiest one, because often it's neither: it's not romantic and it's not funny. So, like, I like a comedy that's biting. It's biting humor or really quirky humor.

I'm really silly. That's the thing that people don't get. I think I'm a stronger comedic actress than I am a dramatic actress. I'm not really pigeonholed, but I'm known for drama. I do comedy so easily, and people relate to my humor. I'll be glad because I don't have to stay sexy and young forever. I don't care if I'm big, as long as I'm funny.

'Saturday Night Live' is a whole different arena. It's great fun and I love it and that's what we do in the Practical theater. I believe in it wholeheartedly and will do it the rest of my life. But there's also legitimate theater, be it comedy, drama, classics or modern plays which I think is important and something I want to be involved in too.

People, you see... are ruthless and foolish. When they're young, in order to have money and power, they give up everything like health and youth. And when they get sick, become old, and have all the money and power... in order to find their health and youth again, they spend all of the wealth they've wasted so much energy and time to accumulate.

More than just romantic comedy, I like romances: drama romance, romance comedy, comedy romance. I also go to the movies to escape. There are times when you go to learn, when you go to be moved, you go to be transported, and there are really times when you go to escape. And I personally escape more happily into a romance than I do violent movies.

People do tend to fear and despise shamans but turn to them in times of desperation. Such a contradiction is a human characteristic, no? I'm more pulled to the human drama of shamans - their experience in society and identity struggles - than their transcendental power. Their drastic lives enable them to empathize with others and provide solace.

I went to an arts school as a kid. We had to take dance every other day, along with drama, music and visual arts. However, wearing black tights was something I dreaded... and still have nightmares about it to this day. I think I was a pretty good dancer. I suppose that training helped me land parts in musicals... or has just given me nightmares!

More than anything else, though, to anyone who would write about it, golf offers a four-hour drama in two acts, which becomes memorable even in the tape-recorded reminiscenses of old champs, and which - in the hands of someone like Herb Wind - can become a piece of war correspondence as artfully controlled as Alan Morehead's account of Gallipoli.

'Game of Thrones,' people say that it's a fantasy series, but it's a hell of a lot more than that. It attracts the so-called geeks and nerds, and God bless them, they're wonderful for getting right into the show. But primarily it's about family; it's power and betrayal and jealousy. It's all those wonderful things that a fantastic drama is about.

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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