Quotes of All Topics . Occasions . Authors
What I love about the 'Alien' franchise is I would do all kinds of films - dramas, comedies, whatever - and every now and then I'd be in this science fiction blockbuster that would re-introduce the character and me to a lot of audiences around the world and allow me to go back and do the smaller films again, so it was really a good balance for me.
Everyone sees drama from his own perspective. My father was killed by a German mine, while I lost other relatives in Allied bombing attacks. The Second World War claimed tens of millions of victims. For some the most terrible aspect of it was the deportations, while for others it was the leveling bombings or the mass deaths by starvation and cold.
The physical body is acknowledged as dust, the personal drama as delusion. It is as if the world we perceive through our senses, the whole gorgeous and terrible pageant, were the breath-thin surface of a bubble, and everything else, inside and outside, is pure radiance. Both suffering and joy come then like a brief reflection, and death like a pin.
The story [for the western genre] is everything. Whether it's a book or a screenplay, the story drives everything. And if you just go out and try to make one by putting on boots and jumping on a horse and riding off... If you don't have the material, the characters and the things to overcome and conflicts that give life to drama, you don't have it.
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.
Remaining calm no matter what's going on around you is an incredible challenge, but it will liberate your psychic sense and will probably add a few years to your life as well-after all, getting worked up about things only makes them worse. Life is always full of drama and challenges, but you don't have to overreact to any of it if you choose not to.
They're done by guys who have talked a good game and then have scrambled together the simulacrum of a drama, so actors are habituated to sometimes having to save a picture on the floor because it's usually part of their job, but they'd rather have a writer doing his job, so that they can do theirs. But I like nothing better than working with actors.
Oh, I love period dramas, especially period dramas starring Colin Firth. I'm like Bridget Jones if she were actually fat." "Oh... Colin Firth. He should only do period dramas. And period dramas should only star Colin Firth. (One-star upgrade for Colin Firth. Two stars for Colin Firth in a waistcoat.) "Keep typing his name, even his name is handsome.
In other words Luke's story is historically impossible and internally inconsistent. He lied to fudge the fulfillment of Micah's prophesy and to provide a villain to play off Jesus in his fictitious drama. Matter flows from place to place and momentarily comes together to be you. Some people find that thought disturbing. I find the reality thrilling.
Most of the jokes that I wrote were funny and there always seems to be an aspect of comedy in my long-form work. I think that's how life is. I think even the more dramatic moments of one's life are often punctuated by very funny comments or situations. I like to say, "Keep your comedy serious and your drama funny, and you'll be pretty true to life."
I've always wanted to do non-comedies, I've always done dramas, comedies, music, and I always like to bop around and do different things. I'm looking for something a bit tougher, more muscle mass, something small, but the thing is, I get all the best comedy scripts, I don't get all the best drama scripts. So I'll just go with what's the best script.
I get the greatest joy from just doing anything, being an actor. Doing music, and doing what I love to do. I don't make a huge distinction between comedy and drama. I think the whole point is just trying to be as honest, from moment to moment, as you can be. If you're honest about the material, and the material is ridiculous, then you're in a comedy.
I like playing the social convention. If you're in a period drama, there's always something dancing underneath the surface as a human - but then you always have to conform to the social conventions around you, and those two things get to be juxtaposed against each other. You're being human, but you're trapped within the social convention of the time.
I'm proud of everything I've done. If it's comedy, it's 'cause I think it's funny. If it's a drama, it's impactful. I'm leaning towards dramas now because I wrapped a couple comedies in a row. I don't like watching myself, but it's easier on me when I don't have to carry a lot of the comedy. But I enjoy making comedies but dramas come more naturally.
Even when I was on Curb Your Enthusiasm I wasn't this "over-the-top" crazy character. It was still kind of play it straight but it was funny because the situation was funny. That's kind of how I portrayed things and I like dramas; I like to be able to - because in dramas you can laugh and joke and still be serious, be real. I like the realism of them.
The drama's altar isn't on the stage: it is candle-sticked and flowered in the box office. There is the gold, though there be no frankincense or myrrh; and the gospel for the day always The Play will Run for a Year. The Dove of Inspiration, of the desire for inspiration, has flown away from it; and on it's roof, now, the commonplace crow caws candidly.
It is no accident that propels people like us to Paris. Paris is simply an artificial stage, a revolving stage that permits the spectator to glimpse all phases of the conflict. Of itself Paris initiates no dramas. They are begun elsewhere. Paris is simply an obstetrical instrument that tears the living embryo from the womb and puts it in the incubator.
Looking outward to the blackness of space, sprinkled with the glory of a universe of lights, I saw majesty-but no welcome. Below was a welcoming planet. There, contained in the thin, moving, incredibly fragile shell of the biosphere is everything that is dear to you, all the human drama and comedy. That's where life is; that's were all the good stuff is.
The Bible has come under fire for making woman the fall guy in man's cosmic drama. But in casting a male conspirator, the serpent, as God's enemy, Genesis hedges and does not take its misogyny far enough. The Bible defensively swerves from God's true opponent, chthonian nature. The serpent is not outside Eve but in her. She is the garden and the serpent.
Of course, ministers look upon theaters as rival attractions, and most of their hatred is born of business views. They think people ought to be driven to church by having all other places closed. In my judgment the theater has done good, while the church has done harm. The drama never has insisted upon burning anybody. Persecution is not born of the stage.
I enjoy it all: performIng, doing TV, movies, comedy, drama, stand-up, animation voicework, singing, but you get that instant gratification from stand-up because it's your own commentary and you get to see the reaction from the audience that's right there in front of you. I also love coming up with characters and watching people embrace them and enjoy them.
There was a lot of drama in school because, well, people have problems at home and they take it out on their friends in school. Trying to impress people, they became bullies. I hated it because I know what it's like to be picked on, and I never liked not fitting in, especially moving around so much as a kid because I was an Army brat. My dad was in the Army.
Perhaps passing through the gates of death is like passing quietly through the gate in a pasture fence. On the other side, you keep walking, without the need to look back. No shock, no drama, just the lifting of a plank or two in a simple wooden gate in a clearing. Neither pain, nor floods of light, nor great voices, but just the silent crossing of a meadow.
I grew up in repertory theaters, so it was comedy one night, drama the next. I'm used to going from one to the other. And I worked for years in television as well. So, I like the interrelationship of it and having a good relationship with a group of artists creating something really where the sum is greater than all of our individual contributions, our parts.
I love French films, and European films. They're not any bigger, but there's just a sort of definition, and a confidence, and strength to them. I'd always, given the option, go and see a French drama. Obviously, we probably get the better ones. But they're just sophisticated on many levels, and grown up, and quite profound - and we don't make films like that.
How are you going to protect me?? do you even know what it means to protect someone?? you think giving a crying person icecream is a way of comforting or protecting them?!?! you don't even know anything! you don't know how to love someone, you don't know how to show love, and you don't know what it means to protect someone. you hurt people without realizing it
And now, what does it all matter? It matters more than anything else in the world. The whole dance, or drama, or pattern of this three-Personal life is to be played out in each one of us: or (putting it the other way round) each one of us has got to enter that pattern, take his place in that dance. There is no other way to the happiness for which we were made.
I was raised Catholic,I took from that was a sense of theater and drama, and also the idea that there were truths that couldn't actually be uttered directly but really had to be reached through ritual. You come out of those Masses so moved, and you're like, "Why did that happen?" And the truth of it is that it happened through an hour of highly enacted ritual.
In rare moments of deep play, we can lay aside our sense of self, shed time's continuum, ignore pain, and sit quietly in the absolute present, watching the world's ordinary miracles. No mind or heart hobbles. No analyzing or explaining. No questing for logic. No promises. No goals. No relationships. No worry. One is completely open to whatever drama may unfold.
To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.
Moshe Sluhovsky's fascinating study links spirit possession, exorcism, and mystical practice in early modern Europe. Women and men, healers and priestly exorcisers are caught up in a new quest for truth and introspection as they try to figure out whether these dramas of body and soul come from the devil or God. A stunning feat of scholarship and interpretation.
I'm a natural born show off. I love performing, and at school we had a really good music scene and an even better drama scene. When I got to university, I played in bands and did sketch stuff and it was always about coming up with material, which is why I never really practised and have no chops!! When I left uni, I carried on playing and trying out at stand-up.
I'm in an odd place right now in New York where I routinely get trashed by every daily drama critic and have a few allies among weekly/monthly drama critics, and you sort of plot these things out and figure it out. But it's just what any writer goes through, periods of favor, periods of disfavor. And the trick is just to keep writing and to not let an obsession.
I don't think RADA wanted me, actually. When I was at Oxford I had a boyfriend at Central [School of Speech and Drama] and it looked like the most fantastic life, but I think not going makes you more free. Nothing can teach you what it's like to work on a film set, and the best education there can be for an actor is to walk up the street and observe human nature.
Larry and I, and a bunch of our colleagues, were sitting on great stories that needed to get out to an audience in one way, shape or form. We've both produced comics in the past, and audio dramas seemed like a similarly interesting option, the other side of the coin. As we've continued with the project, the format has become a vital way for us to tell our stories.
I'll live as a courtesan, not as a woman. I'll embrace any man that comes my way. It's not hard giving your body and not your heart. And I'll take revenge. To all those rich nobles, I'll get revenge for all the pain I received. No...even more. Then I'll get revenge on you, Head Mistress. Breaking my love and making me a courtesan, will not be a good thing for you.
I've had a long association with the theater over the years but I had never produced a play and it was something that I'd always wanted to do.The movies moved away from dramas, and I think that I'm very excited by the opportunity to take smart writing that takes risks and see it on stage. It's exciting to see that engagement between the audience and the playwright.
Whatever the best scripts are and you just want to play roles that you can really sink your teeth into. That's always the goal no matter if it's a good guy or a bad guy, or a comedy, or a drama. It doesn't matter, you just want something that's substantial you can sink your teeth into and that you haven't done before, something that's really going to challenge you.
You could begin to notice whenever you find yourself blaming others or justifying yourself. If you spent the rest of your life just noticing that and letting it be a way to uncover the silliness of the human condition-the tragic yet comic drama that we all continually buy into-you could develop a lot of wisdom and a lot of kindness as well as a great sense of humor.
I think that's actually what draws me to family stories: the various roles we each play with each member of our families, and how different they can be from who we are with our friends and partners and lovers. I'm endlessly fascinated by how we navigate these family dynamics; they are the dramas each of us live out day after day, often in ways we don't even realize.
Because I was familiar with Taika's Watiti work and there's a very subversive, funny streak amongst all of them. I don't think he turned [Hunt for the Wilderpeople] into a sort of drama, there's too much dark material underneath it for it to be a comedy; it wasn't designed to be a comedy. I think it's a comedy... I think it's a drama that's funny; which is different.
There's no drama. There's nothing. Everyone is there to work, everyone is really kind and everyone is very helpful, especially to me. I went in there, hoping to learn. I could have easily been put on some project with somebody who really doesn't care about teaching or sharing. But, while I was there, all of the cast were very helpful. I would constantly ask questions.
Whatever is felt upon the page without being specifically named there - that, one might say, is created. It is the inexplicable presence of the thing not named, of the overtone divined by the ear but not heard by it, the verbal mood, the emotional aura of the fact or the thing or the deed, that gives high quality to the novel or the drama, as well as to poetry itself.
When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
I am a successful lecturer in physics for popular audiences. The real entertainment gimmick is the excitement, drama and mystery of the subject matter. People love to learn something, they are 'entertained' enormously by being allowed to understand a little bit of something they never understood before. One must have faith in the subject and in people's interest in it.
[I remember going] to a hotel gym at six o'clock in the morning, and the television was on, and it's some drama in which two men have clearly kidnapped a woman. They're interrogating her, and they put a plastic bag over her head. They're suffocating her, and I'm thinking, It's six o'clock in the morning! Why does anybody need to see this? How can I find the off switch?
Some people have this really clear memory of making that decision, and I don't. My earliest memories of being involved with drama or acting were in elementary school. My sister and I got dropped off at an after-school improvisation class, a time-killer for kids while parents were doing the groceries. I'm 6 years old, and I remember running amok and playing these games.
With a lot of the movies that I've done, they've been both dramas and comedies from Shanghai Noon to Billy Bob Thornton's second movie, Daddy and Them, to just a bunch of movies that I have done have been comic, and they're usually from a cynical kind of pessimistic point of view which is probably my sense of humor, and this is a part of myself in everybody that I play.
One of the more problematic aspects of the current state of cinema in Japan is that the movies playing in the theaters are by and large made not by film studios but by broadcasting companies. They're either extensions of popular television dramas or adaptations of manga or anime. Younger Japanese are simply not being exposed to good films. That situation needs to change.
I come from a little bit of a theatrical background. I started that way. I don't have a tremendous body of work or anything, but I went to drama school. And so, to get to do a piece where the characters get to talk a lot, and that isn't just about the spectacle or the set piece, or is simply visual or movement based. It was really wonderful for me, and juicy and exciting.