Best 2427 quotes in «drama quotes» category

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?

In one way an oil boom is a mighty bad thing, because it gets into your blood and almost becomes an obsession. Booms are filled with excitement, adventure, and drama, but sometimes the exit from the scene must be made between suns on a pair of mighty weary feet.

I no longer have time for unnecessary drama. I wasted so much time scared, self-conscious and insecure. Life is too short to stress the small things anymore.

In order to be a world-class expert in anything, be it audiology, drama, music, art, gymnastics, whatever, one needs to have a minimum of 10,000 hours of practice. Unfortunately, it doesn't mean that if you put in 10,000 hours that you will become an expert, but there aren't any cases where someone has achieved world-class mastery without it! So the time spent at the activity is indeed the most important and influential factor.

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.

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.

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.

I noticed the drama majors on campus when I was at Notre Dame. They just seemed to be freer spirits than the rest of us. There was joy in their work; they were the only ones studying something whose work made them happy. I envied that.

In our 'don't just sit there, do something' culture, when we get sick we are supposed to become characters in a heroic medical narrative that conceals the remorselessness of pathology, the intractable fact of human vulnerability, and the inevitable inadequacies of medicine. To many of the participants in the medical drama, aggressive treatment - even when it fails - represents a quasi-religious quest for immortality and meaning.

In our culture, the Oedipal drama succeeds in making us assume either a male or female sexual position. Certainly this is an ancient construct that's rapidly coming apart.

In Phil's case, I was personally thrilled he came back, because I think it's huge for the league. When you think about what he's done and how many championships he's won, there's always drama when he comes back in.

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.

In professional wrestling, I think that they want you to be bigger than life. It's almost like an over-acting type thing - whereas on the big screen, you're 35 feet and they've got a close-up of you to put it on the screen in the movie house. At 35 feet, it's more subtlety than the overboard drama that we do in pro wrestling.

In prose fiction the freedom to work honestly exists, although you may have to fight for it. In those other areas of literature, I mean drama, there is only silence. That sort of aesthetic integrity does not exist in radio and television, and seldom on film.

In romantic comedies there's a certain ceiling and a floor that you can't necessarily love as hard, or hate as hard, or have as much pain, because you sink the shop of the romantic comedy. But in a certain drama, like some of the ones I've been doing, the ceiling and the floor was my own. And in many ways, that was a higher ceiling and a lower floor, so that was more of a band-with for those emotions.

Instead of an elegant warning, you need to bring a strong deal. That's the only way you'll gain what you want.

In television, women can really run anything. It can be a comedy, it can be a drama, it can be genre, it can be anything. But in films, women are still getting to the top

In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?

In terms of drama school, what that will give you that you won't necessarily learn on a film set is the technical ability - ie, projecting your voice and stage craft.

In terms of my own film experience, I'm definitely used to morose and very heavy, heavy dramas.

In terms of making TV drama, not everything has to make sense. In cinema, you usually strive for reality and a natural environment, but in TV, it's more acceptable to do something crazy and break with naturalism.

In that endless time, we are born in the same age. In that infinite space, to be able to meet and become one with you, that fate is really amazing and the miracle is really beautiful.

In the case of drama (stage, movies, television ), there appear to be people in almost every audience who never quite fully realize that a play is a set of fictional, symbolic representations. An actor is one who symbolizes other people, real or imagined. [...] Also some years ago it was reported that when Edward G. Robinson, who used to play gangster roles with extraordinary vividness, visited Chicago, local hoodlums would telephone him at his hotel to pay their professional respects.

In the end, drama is successful if you care about the people.

In the networks' endless pursuit of controversy, we should ask what is the end value ... to enlighten or to profit? What is the end result ... to inform or to confuse? How does the ongoing exploration for more action, more excitements, more drama, serve our national search for internal peace and stability.

In the world of physics we watch a shadowgraph performance of the drama of familiar life. The shadow of my elbow rests on the shadow table as the shadow ink flows over the shadow paper. It is all symbolic, and as a symbol the physicist leaves it. ... The frank realisation that physical science is concerned with a world of shadows is one of the most significant of recent advances.

I once heard a woman laugh at that most tragic moment in all drama, the off-stage shot in "The Wild Duck," and I afterward had her killed, so there will be no more of that out of her.

In this filthy despicable world someone suddenly reached out and held on to me. My life in my darkest moment, at the moment of all moments. The one person that reached out to me, was you Yoon Jae In

I only went along to youth theatre with a friend when I was young to try to make myself a bit more sociable. But the whole thing was quite sore; it really hurt me trying to get into drama school. It was a world I knew nothing about - it was very middle class; all that usual stuff. But I was young, determined, and I just went for it.

I only do children's films now! I think when you go to LA some people feel you've defected a little bit and that's not really the case. Ideally, I would love to work here and to work in America. That's in an ideal world. In fact, I came back to Britain recently to do an ITV1 drama that will be out in April for a couple of months! But I'm flying back to LA to do a pilot season. So, to work in both places is great.

I originally wanted to be a pop star. I wanted to be Kylie Minogue. My dad thought that was a very silly ambition and introduced me to drama classes. Once I became fixated on that, there was no stopping me.

I personally just want to do as many different things as I can do, whether it's comedy, drama, science fiction, horror, narrator... You've got a documentary, I've got a voice. Animated films. Big films, small films.

I once worked with Emma Thompsons mother, Phyllida Law. I worked with her on a BBC drama, and she was hilarious. I loved her so much, and she was great to work with.

I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.

I really feel like the first day I went to drama school and I went up on stage, that I found my vocation. It's kind of a cliched thing to say but I really feel like it was what I was meant to do.

I really liked drama and being in plays, so when I was playing a character onstage and I could act like somebody else, then I wasn't scared or nervous, but I didn't like meeting new people when I had to be myself. That was scary.

I really like people who can do both drama and comedy and not some like middle of the road do both drama and comedy. I'm not talking about some guy who does these bland dramedies all the time. I'm talking about people that have done heavy drama and who have done heavy comedy.

I probably shouldn't do a straight drama. I'd probably ruin it. I don't know. But, I'd love the opportunity to try. I'm sure that every kind of filmmaker feels that they can do other genres of film and want to, and I feel the same way.

I realized that I spent more time thinking about my problem clients than my great clients. I had to stop feeding the drama of the problem clients-and other problems in my life.

I really like films and plays that cross over different genres. So I'd like to do something that you think is a drama and then you think is a supernatural thing and then becomes a drama again. That's very vague.

I really like playing the bad guy. There are so many more objectives to play when you're mad or villainesque, or when there's some agenda that you have. That's drama, that's where the heart lives. I love playing the bad guy, but especially the bad guy who's still with the girl.

I really like the "two is better than three" line. People ask me is this drama or comedy? I just think the more colors you have to a film the better. The more genres, the more people will like it. I like relating to the whole general speaking public. The script itself is 99 pages but the novel it is based on is 600. I had to leave a lot of stuff out of the script. I had a limitation of what I could present on the big screen.

I remain, however, fairly optimistic for the future of period drama because it's just such a popular thing.

I remembered a mantra that one of my teachers used to tell me at drama school, that every thought will pass across your face. Even if you're thinking about Shreddies the camera will read it.

I received an OBE from the Queen, which probably doesn't mean anything in America but is quite nice in England - the Order of the British Empire for services to drama.

[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?

I really fell into drama school - I had a lot of lot of luck. I didn't take criticism very well while I was there; in fact, I took it personally. With every note I got, I felt like they were telling me I was a bad person.

I said the first thing that came into my head unfortunately. "Save the drama for your mama " I told her just like an eleven-year-old.

I simply can't understand the stereotyping women as film makers who make soppy family dramas. Look at Katherine Bigelow: she has directed Point Break and Strange Days. I hate labels of any kind. Just because you are a woman you can't do this or that? Twenty years ago women entering the work force was enough of a shock. People just like the predictable; they feel safe with it. You know, it's such a bore

I seek the real stuff of life. Profound drama.