Drama Quotes - Page 55

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So one time for my disillusioned artists, I hear ya Two times for the kid that air-guitars in the mirror Three times for the 9-to-5-in' bus ridin' dudes And four times for my dreamers, yo I'm just like you That's why I sing for my queens with their own pair of wings My brothers flyin' beside me, drama behind me Mama tried to find me, she inquired emphatically I was in the sky with all these other ghetto kids, defying gravity, uh

I am a director and I think actually they're not that different - dramas and docs aren't that different. When I'm doing a drama I'm trying to make things feel as believable and real as possible. The hair, the make-up, the costume, the design, you're trying to make it authentic. And when you've got a documentary it's all authentic, so what story are you going to tell and how do you make it dramatic and exciting? It's the same thing.

We had an ancient Russian acting coach at my drama school who said the worst offense you could commit was to let your subtext show. That is the point of acting, is to be saying one thing and not be allowed by society or your predicament to show what you're really feeling. In a way, I think that's why the therapy generation has killed script writing, because all you ever get is people going, "Hi, I'm feeling really angry right now."

You can't see any movie nowadays really without it having some sort of CGI treatment, albeit whether it's a creature or an environment, something like that. To make a point, sort of poetically in that case, but clearly it was a drama and how do you approach it? Well, I think what you're supposed to do is what the text dictates. What you bring to it and everything you need to know should be there, and pay attention to your director.

I have a lot of projects I get asked for, but the opera house really is my house - my home. It's where I feel comfortable and confident and I get to explore these big human stories and dramas and collaborate with extraordinary people, great talented artists and administrators and other people who are passionate about it and support it. It's like working with a great big family - the family you love and enjoy being with all the time.

I think there's been a gigantic shift in the way we talk to each other, and the way that we communicate with each other. So as a filmmaker, the stuff's always been really interesting to me, and I sort of considered a lot of my films horror films, the ones that were relationship dramas, because I feel like it was very easy to look at modern communication and the Internet and cell phones and all that stuff as horror movies, basically.

Commit to growing yourself. Do not avoid problems and or complain about problems. Don't let them bother you. In fact, don't even call them problems; refer to them as "challenges" or "situations". Let go of the emotion and drama you create when you don't get what you want. Just stay present and handle one situation at a time with an open mind and an open heart. Trust yourself and in the universe that everything will work out in the end.

With most people, not describable as artists, all the finer part of their vitality goes into sex. They become third-rate poets during their courtship. All their instincts of drama come out freshly with their wives. The artist is he in whom this emotionality normally absorbed by sex is so strong that it claims a newer and more exclusive field of deployment. Its first creation is the Artist himself, a new sort of person; the creative man.

Men and women are sacrificed to the idols of profit and consumption: it is the 'culture of waste.' If a computer breaks it is a tragedy, but poverty, the needs and dramas of so many people end up being considered normal. ... When the stock market drops 10 points in some cities, it constitutes a tragedy. Someone who dies is not news, but lowering income by 10 points is a tragedy! In this way people are thrown aside as if they were trash.

I was viewed as a little bit of an outcast. I didn't have one group of friends who I hung out with every single day. I would have friends on my football team, friends in drama, friends in video production, and I would hand out with different people. I know that wasn't the normal thing to do in high school. The normal thing is to be ina group or be part of a clique. But for me, I love hanging out with different people and just having fun.

I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.

If we are not personally engaged in God's great mission in the world, then we have missed the very thing he created us to do. We are like birds meant to fly but living in a cage; fish meant to swim but floundering on the beach. It makes sense when you think about it. If the Author of the universe created us to play a key role in his unfolding drama but we have failed to find our place in that story, then of course we would feel incomplete.

When 'Malcolm in the Middle' was over, I was looking for a drama more than a comedy...but if it was a comedy that came up, it would have to be as well-written as 'Malcolm' was, and it would have to be a different kind of character than I played on that show. That's harder to come by. In drama, there were more opportunities, more options for me, and when I read ('Breaking Bad'), it was just, 'Good night, Nurse! I'm going after this sucker!'

. . . when the nature of mind is introduced by a master, it is just too simple for us to believe. Our ordinary mind tells us this cannot be, there must be something more to it than this. It must surely be more "glorious", with light blazing in space around us, angels with flowing golden hair swooping down to meet us, and a deep Wizard of Oz voice announcing, "Now you have been introduced to the nature of your mind." There is no such drama.

Why don't you be together with me? If you can't say it out now, then you just answer by selecting... 1st, if you say YES, we will get married right away 2nd, if you say NO, I will use every possible way to make you say YES and get married right away 3rd, if you say you need time to consider, I will give you one day to think over it and then get married So you just choose, is it YES or NO? No, it's either 1st, 2nd or 3rd. Marry or not marry?

I was quite straight-laced. I was quite academic until I was about 14 and then I went to boarding school where I had the opportunity to continue to be very academic, but got less interested in it and became more involved in acting. And then when I was applying for universities I used a couple of places on my UCAS form to apply for drama school without telling anyone... but didn't get into drama school. But that was the most rebellious thing I did.

That was a bizarre and unlikely event, which has misled a generation of drama students from my old drama school that dreams really do come true. I was an unemployed actor. I had been an actor for about eight years, and had worked in theater, and done a tiny bit of TV, and somehow an audition video of mine ended up on Kevin Costner's television screen, and he rang me up and invited me to fly first-class to Hollywood and be in his movie The Postman.

Where we're telling the story of the history of the ensemblist [in the "Ensemblist Essentials"], using the nine musicals that have won the Pulitzer Prize for Drama as fixed points in time We're going from 1931 to 2016 and using these shows to talk about what the typical show was like for an ensemblist at the time; did this show change anything about that job, while it was changing everything about the way theatre was written and produced and made?

Marvel has this tradition, and I think that Sony has this tradition too, of hiring directors for Spider-Man who are dramatic directors. That are directors who are interested in human beings, in characters, in drama, and who are really good with actors. That kind of feels like a Spider-Man director to me. And because Spider-Man is always as big as the films that are being made at Marvel, it always is character and story. You can never take that out.

Take refuge in silence. You can be here or there or anywhere. Fixed in silence, established in the inner 'I', you can be as you are. The world will never perturb you if you are well founded upon the tranquility within. Gather your thoughts within. Find out the thought centre and discover your Self-equipoise. In storm and turmoil be calm and silent. Watch the events around as a witness. The world is a drama. Be a witness, inturned and introspective.

You will permit me to say, that a greater drama is now acting on this theatre than has heretofore been brought on the American tage, or any other in the world. We exhibit at present the novel and astonishing spectacle of a whole people deliberating calmly on what form of government will be most conducive to their happiness; and deciding with an unexpected degree of unanimity in favour of a system which they conceive calculated to answer the purpose.

Our true history is scarcely ever deciphered by others. The chief part of the drama is a monologue, or rather an intimate debate between God, our conscience, and ourselves. Tears, grieves, depressions, disappointments, irritations, good and evil thoughts, decisions, uncertainties, deliberations --all these belong to our secret, and are almost all incommunicable and intransmissible, even when we try to speak of them, and even when we write them down.

I like movies that deal with trapped men. Men that need to make choices that are not obvious or easy choices. Then how do you visualize this? You create this character conflicted between two sides, because drama is about the conflict of two things, between your duty and your will, between what you want and what you can't have. It is all conflict between two things, and this is why you put your character in a place where you can visualize the conflict.

The '90s were a time when not just the movie business, but every aspect of American life, became a lot more corporate. There's a line in Jonathan Franzen's essay "Perchance to Dream" about how "the rich lateral dramas of local manners have been replaced by a single vertical drama, that of commercial generality." I wanted to examine that great homogenizing force that came in during the '90s, since Hollywood seemed a place where it was particularly active.

My very first professional job was with a theatre company in 1965 and the first job they gave me was literally shovelling sh*t. I was an assistant stage manager and they told me to clear out the prop store. I opened it up and no-one had been in there for 25 years and it was inches deep in rat sh*t. So before I could get anywhere I had to clear it up. I thought, 'All these years of training, the best drama school in the world, and this is what I'm doing.'

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.

When I went to Yale, I thought it would be like in Stenford 24 hours a day. Robert Brustein, former dean of the Yale School of Drama and founder of the Yale Repertory Theater was there, and we did all this very serious - I would go so far as to say completely humorless - Eastern European drama, as well as August Strindberg, and Henrik Ibsen, we weren't allowed to do William Shakespeare or Tennessee Williams or Eugene O'Neill. I was not in the right place.

Being singer is different than being an actor, where you call up sources from your own experience that you can apply to whatever Shakespeare drama you're in. But an actor is pretending to be somebody, a singer isn't. And that's the difference. Singers today have to sing songs where there's very little emotion involved. That and the fact that they have to sing hit records from years gone by doesn't leave a lot of room for any kind of intelligent creativity.

The road to hell is paved with reasonable religion with a non-anxious god. Most days, I'm pretty happy driving down that road. But I keep running into this Crazy Fellow along the way. At every stop light, he jumps up and down to get my attention. He pounds on my window asking me where the heck I think I'm going. He stands on the front bumper, shouting at me to turn around. When all else fails, he throws himself in front of the car. He's such a drama queen.

I just don't think that being unable to forgive someone is the most healing move. It can be, and I've had times in my life when I thought I would be better off without the drama that another person was bringing to me, but cutting someone out isn't always the answer. I know someone who cut her mother out and it didn't magically heal her. She's still haunted. It's not as if you can wipe clean all of your memories of having a mother, or wanting or needing one.

When I was writing the script, I knew didn't want to make a sports movie. I was very clear that I wanted to make a sibling rivalry story. So when I was writing the script, the football was getting in the way of the drama. One day, I saw Michael Haneke's Funny Games, which is probably the most violent film I've ever seen - but the violence is off camera. When I finished watching the film, I said, 'Hey, that's what I have to do.' Haneke gave me this solution.

I suppose I walk that line between comedy and cruelty because I think one illuminates the other. We're all cruel, aren't we? We are all extreme in one way or another at times and that's what drama, since the Greeks, has dealt with. I hope the overall view isn't just that though, or I've failed in my writing. There have to be moments when you glimpse something decent, something life-affirming even in the most twisted character. That's where the real art lies.

I had never intended to be on the show more than three years, regardless of how successful it was. I had other things I wanted to do. And I was offered a role in 'Red Sky at Morning', [1970]. I got that part because [producer] Hal Wallis had seen the HERE'S LUCY show with Ann-Margaret. It was a thrill for me, getting to do the drama and comedy. It was such a good role. So I missed several episodes of the show to shoot the movie. And I never came back but one.

Two generations ago only a few unfortunate children ever saw anyone hit over the head with a brick, shot, rammed by a car, blown up, immolated, raped or tortured. Now all children, along with their elders, see such images every day of their lives and are expected to enjoy them. ... The seven-year-old who hides his eyes in the family cops-and-robbers drama is desensitized four years later to a point where he crunches potato chips through the latest video nasty.

I think it is a must for young people and generations yet to come, to understand, to feel, to touch, to almost smell the drama of what happened a few short years ago [the civil rights movement of the 1950s and 1960s]. So maybe, just maybe, we will never ever repeat this unbelievable time in our history. We have to tell it all, and make it plain, and make it clear, so people will never ever forget the distance we have come, and the progress we have yet to make.

In order to get the things I want, it helps me to pretend I’m a figure in a daytime drama, a schemer. Soap opera characters make emphatic pronouncements. They ball up their fists and state their goals out loud. ‘I will destroy Buchanan Enterprises,’ they say. ‘Phoebe Wallingford will pay for what she’s done to our family.’ Walking home with the back half of the twelve-foot ladder, I turned to look in the direction of Hugh’s loft. ‘You will be mine,’ I commanded.

The world has never before had as much drama as today. Radio, films, television and video inundate us with drama. But while these forms can engage or even enrage the audience, in none of them can the viewer’s response alter the artistic event itselfThat is why theatre is signing its own death warrant when it tries to play too safe. On the other hand, that is also the reason why, although its future often seems bleak, theatre will continue to live and to provoke.

There was a stately drama writ By the hand that peopled the earth and air, And set the stars in the infinite, And made night gorgeous and morning fair; And all that had sense to reason knew That bloody drama must be gone through. Some sat and watched how the action veered-- Waited, profited, trembled, cheered-- We saw not clearly nor understood, But yielding ourselves to the masterhand, Each in his part as best he could, We played it through as the author planned.

I told myself, 'All I want is a normal life'. But was that true? I wasn't so sure. Because there was a part of me that enjoyed hating school, and the drama of not going, the potential consequences whatever they were. I was intrigued by the unknown. I was even slightly thrilled that my mother was such a mess. Had I become addicted to crisis? I traced my finger along the windowsill. 'Want something normal, want something normal, want something normal', I told myself.

To captivate our varied and worldwide audience of all ages, the nature and treatment of the fairy tale, the legend, the myth have to be elementary, simple. Good and evil, the antagonists of all great drama in some guise, must be believably personalized. The moral ideals common to all humanity must be upheld. The victories must not be too easy. Strife to test valor is still and will always be the basic ingredient of the animated tale, as of all screen entertainments.

The decisive moment, the popular Henri Cartier-Bresson approach to photography in which a scene is stopped and depicted at a certain point of high visual drama, is now possible to achieve at any time. One's photographs, years later, may be retroactively rephotographed by repositioning the photographer or the subject of the photograph, or by adding elements that were never there before but now are made to exist concurrently in a newly elastic sense of space and time.

There is no inherent awakening power in cultural forms that have become dissociated from the wisdom and practicality that gave birth to them. They turn into illusions themselves and become part of the drama of religious culture. Although they can make us happy temporarily, they can't free us from suffering, so at some point, they become a source of disappointment and discouragement. Eventually, these forms may inspire nothing more than resistance to their authority.

There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. And you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. And I suddenly thought that that's not necessarily the case. And I also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.

The Federal Building's large Ceremonial Courtroom, reserved for show trials, is veneered in executive teak. Bench, counsel tables, jury boxes, entrances, and exits -- all are as formally arranged as an Elizabethan stage. Only the drama is shapeless, at least to those of us who have never seen a trial before. We see only random movements, sequences, comings and goings, no form or agenda apparent. To us the action is less like watching a play than watching an aquarium.

The dance is the most universal of the arts, since, as Goethe justly said, it could destroy all the fine arts. It is an expression of all the emotions of the spirit, from the lowest to the highest. It accompanies and stimulates all the processes of life, from hunting and farming to war and fertility, from love to death. It enables, in turn other arts to come into being: music, song, drama. Despite all their riches, the dance is no formless complex, but a simple unity.

I've been fortunate in that the films I've worked on in the horror genre are themselves not pure horror, and have allowed me to write in a wide variety of styles. Those scores contain elements of fantasy, drama, action, comedy... really all types of scoring, and that gives the horror moments more impact. As for scoring the horror moments, I do like approaching the music from the psychological aspect, scoring to the characters' thoughts, emotions, motivations and such.

Halt regarded him. He loved Horace like a younger brother. Even like a second son, after Will. He admired his skill with a sword and his courage in battle. But sometimes, just sometimes, he felt an overwhelming desire to ram the young warrior's head against a convenient tree. "You have no sense of drama or symbolism, do you?" he asked. "Huh?" replied Horace, not quite understanding. Halt looked around for a convenient tree. Luckily for Horace, there were none in sight.

Enchanting is not the word that would immediately spring to mind when describing a play that deals with fractal geometry, iterated algorithms, chaos theory and the second law of thermodynamics, but it is a perfect fit for Tom Stoppard's astonishing 1993 play, which is as beautiful as it is brilliant. This is one Stoppard drama that you don't have to be Einstein to understand -- you can feel it as well as think it. (...) Breathtaking, exhilarating and deeply satisfying.

The book is about zombies, in that it is the over-arching theme, but what's going on is the story of these people and how these survivors deal. I think that's so much more of an interesting story, and that's what really gets and hooks these readers into the book and the show. It's a mix of fans of drama, fans of AMC, fans of horror and fans of Frank [Darabont]. It's a lot of people just coming together and realizing a genre doesn't have to be fixed in one specific detail.

To the scientists of the Renaissance, your critic was really your ally, helping you advance upon reality. Critics in science are not like drama critics, determining flops and successes. Criticism to scientists is just another means of finding out whether they're wrong, like running another experiment to see if it confirms or refutes a theory. Along with the advocacy principle of the courtroom, It is one of the best ways human beings have evolved to get closer to the truth.

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