Best 2427 quotes in «drama quotes» category

When I would feel down...I'd have some noodles father prepared, and all the worries I had that day...Poof! They would all disappear.

When love first happens, the individuals are giving each other energy unconsciously and both people feel buoyant and elated. That's the incredible high we call being ‘in love.’ Unfortunately, once they expect this feeling to come from another person, they cut themselves off from the energy in the universe and begin to rely even more on the energy from each other - only now there doesn’t seem to be enough.

When my daughter was younger we showed her all the great musicals. And the great dramas and great comedies, and the one that she took to the most was Some Like It Hot.

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 people ask what I write about, that's what I tell them: 'The drama of human relationships.' I'm not even close to running out of material.

When really you've gone to drama school and rep and then you've come to London and gone to auditions and you've worked, solidly, for years. But that all gets forgotten.

When searching for harmony in life one must never forget that in the drama of existence we are ourselves both actors and spectators.

When someone who is known as a comedic actor goes to drama, it often doesn't work out, because they really just chose wrong, I think - or maybe they're just not good actors. For me it's important making that transition seamless, and not a huge shock and jumping into cold water. It doesn't feel like I'm trying to shock you or anything. I'm just saying, "I'm a different actor than you thought I was. Don't put me in a box. I'm not just some kid running around screaming curse words." I have other tastes besides comedy. I love comedy, but I love dramatic movies just as much.

When someone who is known as a comedic actor goes to drama, it often doesn't work out, because they really just chose wrong, I think - or maybe they're just not good actors, I don't know.

When the Appollonian strain took over in Greece, they made them into theaters and the original dramas.

When the drama attains a characterization which makes the play a revelation of human conduct and a dialogue which characterizes yet pleases for itself, we reach dramatic literature.

When the ego dominates in organizations, even spiritual organizations, there is usually a big drama or upheaval of some kind, and self-destruction begins.

When the drama of history is over, Jesus Christ will stand alone on the stage. All the great figures of history ... will realize that they have been but actors in a drama produced by another.

. . . 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.

When the rose and the cross are united the alchemical marriage is complete and the drama ends. Then we wake from history and enter eternity.

When the time came to make a decision about what do in life, I found myself thinking that acting was the thing I loved to do, so I applied to drama school. And then, I didn't get in - twice.

When we are young we think our troubles a mighty business - that the world is spread out expressly as a stage for the particular drama of our lives and that we have a right to rant and foam at the mouth if we are crossed. I have done enough of that in my time.

When we gather for worship, whether with a handful in a storefront chapel or with thousands in St. Peter's Square, we perform a drama with different parts-speaking and singing and praying and giving money and baptizing and eating bread and drinking wine-all for the delight of God.

When we want to give expression to a dramatic situation in our lives, we tend to use metaphors of heaviness. We say that something has become a great burden to us. We either bear the burden or fail and go down with it, we struggle with it, win or lose. And Sabina - what had come over her? Nothing. She had left a man because she felt like leaving him. Had he persecuted her? Had he tried to take revenge on her? No. Her drama was a drama not of heaviness but of lightness. What fell to her lot was not the burden, but the unbearable lightness of being.

When you are not honoring the present moment by allowing it to be, you are creating drama.

When you care about other people, it takes the spotlight off your own drama.

When you draw a western correctly, you create such drama, such dilemma that you think you almost don't want to admit who you might have been.

When you do your comedy and your drama, your acting style doesn't change. If it's a comedy, the situations and the characters might be a little funnier, but you're just trying to be honest.

When you go into extra time, we're talking about drama. But when we reach the penalty shootout, it's a tragedy.

When you make a drama, you spend all day beating a guy to death with a hammer, or what have you. Or, you have to take a bite out of somebody's face. On the other hand, with a comedy, you yell at Billy Crystal for an hour, and you go home.

When you lose your simplicity, you lose your drama.

When you make a movie, everyone should leave their own personal problems at home. When they start bringing those to set, filming can be very difficult... You don't need any extra drama. Put the drama into the story, in the characters.

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.

When you're a drama student, I think the most you hope for is to make a living out of acting.

When you're studying drama, when you're a young actor, there are simple rules about acting. "Why am I here? What prevents me from leaving? What am I trying to get? How do I hide something?" So when you're making a film like Abel's movie, you want to be thinking about those things all the time. And you wanna be armed with those things, and you hope the other actors you're working with have the same understanding of drama and scene and acting. Sometimes it works and sometimes it doesn't.

When you're in your early 20s, a lot of characters can be one or two dimensional. You want a role to substantiate the drama, as opposed to actually analyzing the psychology of a human being. That's what drew me to acting, particularly the contradictions in people.

When you're touring, you're working from the moment you wake up to the moment you got to bed. Sometimes you make up fun drama, because it can get a little boring, but that's all light-hearted fun so that's different.

When your life is working there will be an absence of drama

When you're young you have no worries, no drama, only your imagination. It's the best!

When you run into someone that you used to be in love with, all that you have is drama, desperation and not know what to do.

When you see Charlie Chaplin, he stays funny. He doesn't become drama, and so what really seems to endure is comedy.

When you start getting jobs, and see your mates from drama school, you don't really want to talk about it, because you have this innate sense of guilt that it's not fair that others aren't doing exactly what you're doing. I do have that.

Whereas 'Avatar' and other movies get shocks out of their three-dimensionality, 'Gatsby' is going to be about inviting the audience into this larger-than-life drama, letting them almost be inside the room rather than looking at it through the window. I think it will really work.

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.

Where hunters and woodcutters once slept in their boots by the dying light of their thousand fires and went on, old teutonic forebears with eyes incandesced by the visionary light of a massive rapacity, wave on wave of the violent and the insane, their brains stoked with spoorless analogues of all that was, lean aryans with their abrogate Semitic chapbook reenacting the dramas and parable therein.

Whether that's an action film or a comedy or a drama or anything in between, I'm willing to prove that I can play with the big boys.

Whether it's a good thing or a bad thing, the higher your profile, the more castable you are in TV dramas.

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?

Whether we like it or not, life has a lot of drama and pain. But God is writing a great story. Are we going to let Him? Are we going to trust Him?

Whether you get hurt by weapons or feelings, it hurts when you get shot in the heart.

While it is unlikely that poetry or art shall eliminate the reality of war in the twenty-first century, it is thrilling to know there remain individuals, and even entire communities, still willing to invest in art and poetry's own uniquely explosive contributions to the great, and small, dramas of human history.

while it is certainly the biographer's business to describe the foibles, passions and idiosyncrasies which make his subject a person, his work will be very meagre if these individual traits are not also seen as part of a universal drama - for each man's life is also the story of Everyman.

Why are you doing this to me? What kind of country did I save in my previous life?

Whoever heard of a midwife as a literary heroine? Yet midwifery is the very stuff of drama. Every child is conceived either in love or lust, is born in pain, followed by joy or sometimes remorse. A midwife is in the thick of it, she sees it all.

Why did John Wilkes Booth do it? In My Thoughts Be Bloody young historian Nora Titone is one of the few to have genuinely explored this question. In doing so, she has crafted a fascinating psychological drama about one of the central events of the Civil War: the assassination of Abraham Lincoln. This book promises to stimulate lively historical debate, and will be a treat for every Civil War buff who always pondered that haunting question, “what made him pull that trigger?” Bravo on a marvelous achievement.