Best 2427 quotes in «drama quotes» category

Textbooks pretty much have no real drama. They have no real storyline. To the extent they have a storyline.

That grand drama in a hundred acts, which is reserved for the next two centuries of Europe-the most terrible, most questionable and perhaps also the most hopeful of all dramas.

That foolishness is what people call pride. That pride that you'd die to protect... why can't I have it? Did you pity me? Up until now, I was just powerless and pitiful to you. So you thought I'd take any helping hand offered to me. Right?

That's the best advice I can give - when you're trying to write a comedy, first write a drama, and then make it funny.

That's the drama of our sport. Our margin of error is so small that anything can happen.

That's right. I'm scared to death. You said it's your first time, feeling chest pain, and nausea. Well it's not mine. I've felt that before, and I know how crazy hot it boils, and how dangerous it is. And I know myself. I'm a Yang Eun-nem-bi, so I boil faster, and hotter, than everyone else.

That's the wonderful thing about drama and writing and fiction: it's this wonderful shared experience that we all have. We can see into each other's lives.

That's what brings in the customers: the combination of gossip and the intricate detail about the dresses, all related as drama. It has the same effect on women, I'm told, as looking at naked women has on men.

That's what life is, it's the small struggles. You walk down the street for half an hour, you see half an hour of drama. You don't need convoluted plot lines. You don't need long-lost brothers. You don't need it's set on the future; it's set on the moon.

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.

The '60s in London obviously brought about the explosion of music, the Beatles especially, and then the Rolling Stones and other forms of music, and then fashion and photography and films - kitchen-sink dramas we called them at that time, which was our nouvelle vague in Britain, films that talk about real life.

The 20th century has been a badly written drama, from the beginning.

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.

The acting I got into by doing what we call pantomime, when I was sixteen. And, there were loads of very pretty girls in the show. I realized; I found out very early on, that the lead comic gets the girl. So, that was cool. When I went to university, I studied Economic Social History. And drama. That kind of got me into it. My main passion was to make films. It was never to be an actor. At that time, there weren't many opportunities for a working class Scottish actor. It was kind of an English thing. And it required a certain mannered cerebral acting style that I couldn't relate to.

The action movie, the thriller and the drama all have safety nets under them. But not the horror film. The horror film can sink to an abyss far darker than the imagination can ever reach.

The adventure of the sun is the great natural drama by which we live, and not to have joy in it and awe of it, not to share in it, is to close a dull door on nature's sustaining and poetic spirit.

The American war is over; but this far from being the case with the American revolution. On the contrary, nothing but the first act of the drama is closed. It remains yet to establish and perfect our new forms of government, and to prepare the principles, morals, and manners of our citizens for these forms of government after they are established and brought to perfection.

Theatre is filled w/ passion, risk and drama (as much behind-the-curtain as on stage), perfect ingredients for documentary storytelling.

Theater used to be a verb; it used to be an act. But nowadays it is just a noun. It is a place.

The Battle of Waterloo is a work of art with tension and drama with its unceasing change from hope to fear and back again, changewhich suddenly dissolves into a moment of extreme catastrophe, a model tragedy because the fate of Europe was determined within this individual fate.

The basis of drama is... the struggle of the hero towards a specific goal at the end of which he realises that what kept him from it was, in the lesser drama, civilisation and, in the great drama, the discovery of something that he did not set out to discover but which can be seen retrospectively as inevitable.

The bondage of the Negro brought captive from Africa is one of the greatest dramas in history, and the writer who merely sees in that ordeal something to approve or condemn fails to understand the evolution of the human race.

The best comedy, I feel, comes in a drama because it balances each other out.

The best thing about serial drama - especially about screwball comedy - is blocked love.

The biggest difference for me is that the tales really have no logical outlet, no particular infrastructure in which to present them as you would have with a film festival. There's no IMDb for audio dramas. So there's a lot of work with no particular reward.

The big thing is it's a domestic drama. Everything else in science fiction tends to be high-concept. Really for the last 40 years or so I think sci-fi's been a little cold and a little inhuman quite often - certainly since the 1980s - and I really wanted to do something that almost felt like a regular, real-life drama but just set it in a sci-fi setting. I think the best stuff is always like that.

The bottom line of comedy is to be funny, and the bottom line of drama is to be truthful. You can be truthful and funny, but if you're not truthful in a drama than the audience leaves you.

The beautiful thing about serialized drama is that the further you go, the deeper you go.

The beauty of the world of Unbreakable is that you're playing it for reality. It should never feel like a comic book movie. It feels like a straight-up drama. It's real. You're confronting the possibility that comic book characters were based on people that were real.

The booing and the drama help make the Olympics interesting, but at what cost? When will people finally get tired of it and start watching the X-Games or competitive tire rolling instead?

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.

The camera course was a bit crap. But when I was in drama school, I wasn't interested. I wanted to be a stage actress. I was not interested in learning camera craft. But then you throw yourself in the deep end when you do get a job in front of the camera because you have absolutely no idea what you're doing, and it is a skill.

The business of the dramatist is to keep himself out of sight, and to let nothing appear but his characters. As soon as he attracts notice to his personal feelings, the illusion is broken.

The career I chose was a drama major in college, at Yale, when I played a 90-year-old woman. One of my most celebrated roles. Then I played a really fat person. I played a lot of different things. That's how I thought I loved to wrangle my talent, my need to express myself. I like to do it that way.

The central drama of our age is how the Western nations and the Asian peoples are to find a tolerable basis of co-existence.

The categories of woman and man are too rigid. They're going to give way to new forces. They already have, to a degree, but for most of us, this drama held sway, and we assumed our positions.

The cheap drama brings cause and effect, will power and action, once more into relation and gives a man the thrilling conviction that he may yet be master of his fate.

The chance to tell personal, language-specific, culturally specific stories is really flourishing on TV and I think it's just the nature of movies and international demands that you need to get a much bigger audience. TV is more like independent film was. The forms of adult drama and certain kinds of sophisticated comedy, there's no room for them in the tentpole movie universe.

The combination of a frivolous form and a serious subject immediately unmasks the truth about our dramas.

The clouds are passing by slowly as the moon appears. Like the clouds, there are certain things which will disappear with the passing of time. And when it happens, you'll realize that it wasn't any big deal.

The cinema is little more than a fad. It's canned drama. What audiences really want to see is flesh and blood on the stage.

The Conquest is not a film about Nicolas Sarkozy - it's a film about political conquest. It's a Shakespearean expression, where we have all the elements of a drama, both political and personal at the same time. The decors and the costumes are all based on real photos - I wanted to be as close to reality as possible. Nicola Piovani's theatrical music gives a distance that's almost Chaplinesque, there's something quite funny. There's no imitation, no caricature, no parodie - it's realism with a distance where the dialogues are often quite funny.

The country is lyric, the town dramatic. When mingled, they make the most perfect musical drama.

The costume the actors wear and if they're in stylized makeup and wigs in a live-action movie let's say, in a big costume drama, even though it does give them a sense of great ambience and environment and they kind of feel like they're in a great court, or if they feel like they're in the old west, or if they feel like they're being chased by hobbits or dinosaurs, it all comes down to the actors looking each other in the eye.

The culturally specific, in particular, the American porch play that American writers have cherished and loved for many years in terms of their new writing, has seemed to have very little relevance to a much more fast-flowing, abstract, experimental drama that has been emerging in [the UK]. The porch play, not to mention that thing of, Oops, I wasn't loved enough by my father, somehow didn't have the relevance in this country.

The creation and destruction of harmonic and 'statistical' tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consonant and 'regular' throughout is, for me, equivalent to watching a movie with only 'good guys' in it, or eating cottage cheese.

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.

The cultural transformation from the love of power to the power of love is the drama of our time.

The cynical, caustic, acid-tongued New York drama critic Addison De Witt introduces his protege/date of the moment, a bimbo date and so-called actress named Miss Casswell (Marilyn Monroe) in another very famous line: "Miss Casswell is an actress, a graduate of the Copacabana School of Dramatic Art.

The dark comedies tend to be in a non-releasable area. There can be romantic comedies. There can be dramas. But there's no 'dark comedy' inbox for the advertising.