If the people wanted my head I would bow without demur. If I had lost the confidence or respect of the people I would not want to live. The tragedy of the drama is that the very opposite is true.
I went to high school directly across the street from Carnegie Mellon, actually, and I knew people that were a couple of years older than me that went there. I was able to see shows in the drama department, and hang out there little bit, and it just felt like a natural progression. It was at the top of my list.
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've done comedy, and I've done drama. I've sort of been a journeyman in my career so far.
I would love to do a drama. I did a couple of episodes of The Good Wife, which is more of a drama. I really liked that; I thought it was interesting. A lot of my favorite comedies play out as dramas.
I don't like the idea of drama schools. They only perpetuate the myth that everyone can do what I do
I've been very physical my whole life. I went out hiking and camping for days in the Australian forest, and when I trained at drama school for three years, we did a whole lot on stage-fighting techniques. And I was a dancer from 5 to 18, so I have a memory for choreography.
If I have to made a Daredevil movie, I will take a completely different direction. My vision of the character is much more a drama. There will be a 1st part in the child hood of Matt Murdock and the universe of Hell kitchen. Something in the universe of the first Rocky Balboa.
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.
I'm always trying to get to a danger point in color, where color either becomes too sweet or it becomes too harsh, it becomes too noisy or too quiet, and at that point I still want the picture to be strong, forceful, and the carrier of everything that a painting has to have: contrast, drama, austerity.
We live between two worlds; we soar in the atmosphere; we creep upon the soil; we have the aspirations of creators and the propensities of quadrupeds. There can be but one explanation of this fact. We are passing from the animal into a higher form, and the drama of this planet is in its second act.
There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.
There's always a great hue and cry when you sign onto a "remake," and that's always been sort of annoying me and freaking me out. This profession that we're in is drama. What drama has been since the beginning is, you restage plays with new casts, or a writer will take a new run at an old story.
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.
I think the only real referent for anybody writing drama is probably Hamlet. You have the most extreme tragic drama, this sort of blood-boltered thing, but it's also very funny, which is simply a matter of the playwright being alive and observant and entertaining, and understanding not only the world but what will play.
Even though a screenplay is performed only once, unlike other forms of drama, it's still a performance in itself, and unless it's a great performance, odds are that actors will not come, and a movie will never be made.
I write drama in the English language. If I wasn't working in London I'd be doing something wrong.
I never viewed screen drama as a vulgar form, or a lesser one, and I've never written it left-handed.
Paintings may not have nearly the power to convert people that the printed or spoken word has, but each man has his part to play in the human and divine drama - some persons just a few lines, others whole pages. To refuse to play one's role at all is not the answer. It is better to light one candle than to curse the darkness.
The point is, the political reporters are the ones who no longer understand the ritual they are covering. They keep searching for political meanings in the tepid events when a convention is now essentially a human drama and only that.
I suppose drama can either take the place of a novel or can be very closely allied with it. It's quite customary to turn a successful novel into a film or a television series because you can dramatize and pictorialize a novel.
Thus the great drama of universal life is perpetually sustained; and though the individual actors undergo continual change, the same parts are ever filled by another and another generation; renewing the face of the earth, and the bosom of the deep, with endless successions of life and happiness.
I'm not interested in 'abstracting' or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it - drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes it again becomes an emotion or idea.
I paint the way I do because I can keep on putting more and more things in - like drama, pain, anger, love, a figure, a horse, my ideas of space. It doesn't matter if it differs from mine, as long as it comes from the painting, which has its own integrity and intensity.
Basically, when I hear the words 'family drama' I run in the opposite direction.
I wasn't really happy in school and didn't really have anything else going for me; I wasn't really good at anything. Drama was at least something I loved and was really passionate about.
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.
I think a lot of the instincts you have doing comedy are really the same for doing drama, in that it's essentially about listening. The way I approach comedy, is you have to commit to everything as if it's a dramatic role, meaning you play it straight.
All jokes aside, it's a very difficult job playing the straight man. Jason is potentially the most brilliant straight man that ever was because he's also really funny while doing it, which is even harder. I've always seen myself playing characters who are flawed. We use comedy in our lives to obscure the drama.
The paintings are not just on flat walls - you have these enormous niches, bulges and protrusions, as well as stalactites and stalagmites. The effect of the three-dimensionality is phenomenal. It's a real drama which the artists of the time understood, and they used it for the drama of their paintings.
I wrote my first play, Uncommon Women and Others, in the hopes of seeing an all-female curtain call in the basement of the Yale School of Drama. A man in the audience stood up during a post show discussion and announced, "I can't get into this, it's all about girls." I thought to myself, "Well, I've been getting in to Hamlet and Laurence of Arabia my whole life, so you better start trying."
I always wanted to be a journeyman actor. I wanted to be able to do comedy and drama, classical and contemporary. I like to do film and theater. And I pride myself on that diversity of being a journeyman actor.
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.'
Free will is something that people struggle with so much, but it's very simple to me. Carl Jung said at the same moment you're a protagonist in your own life making choices, you also are the spear carrier, or the extra, in a much larger drama. You've got to live with these two opposite ideas at the same time.
If you can't get your core audience to watch the show, it's very hard to then pull in enough people outside of your fan base to your network. The networks are just so branded now; USA can't really do a dark despairing drama and FX can't do a blue-sky show. People watch the networks they watch.
The central drama of our age is how the Western nations and the Asian peoples are to find a tolerable basis of co-existence.
There's a tricky tone where you try to get some humor into a movie that's also a tough tale of murder and revenge. You have to ice skate rather carefully between the humor and the action tension part of the drama.
Drama is based on the Mistake.
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.
I've always been in school plays and performing monologues and taking drama. Now I'm in acting clas-ses. I do it the real way. I want to be a working actor. I would love that. I just like being on a series and having a script, and I want that to be my nine-to-five.