Best 2427 quotes in «drama quotes» category

All of my films I've made have had an element of physicality and action but I really enjoy the drama of it because it's where I feel I'm really doing something.

All of the action, and the Wild West West fun, crazy, HBO stuff is in there and it's all amazing, but what separates the show [ Westworld] is that it's an existential drama. It's an intellectual nightmare. It is all very much based in reality. A lot of the technologies that we're exploring is stuff that we're working at, right now. All of this is not that far away. It's taking a look at humanity and the state that we're in now and what would happen, if we kept on going the way that we're going and we created this artificial intelligence.

All of the sadness and drama you have lived in your life was rooted in the making of assumptions and taking things personally. The whole world of control between humans is based on that.

All that stuff about my father and my childhood is interesting up to a certain point, but I kind of capsized with the family drama a long time ago. Now I want to get away from that. Not that I won't return to it, but a certain element has been exhausted, and it feels like why regurgitate all this stuff?

All the Cosmic Drama, as it is written in the four Gospels, should be lived inside ourselves, here and now. The isn't something merely historic, it's something to live, here and now!

All that remains is a fate whose outcome alone is fatal. Outside of that single fatality of death, everything, joy or happiness, is liberty. A world remains of which man is the sole master. What bound him was the illusion of another world. The outcome of his thought, ceasing to be renunciatory, flowers in images. It frolics---in myths, to be sure, but myths with no other depth than that of human suffering and, like it, inexhaustible. Not the divine fable that amuses and blinds, but the terrestrial face, gesture, and drama in which are summed up a difficult wisdom and an ephemeral passion.

All the craft skills that I have, I feel like I developed and honed in drama school. It's the most important thing for me.

All the great novels, all the great films, all the great dramas are fictions that actually tell us the truth about us or about human nature or about human situations without being tied into the minutia of documentary events. Otherwise we might as well just make documentaries.

All the great Shakespeare plays are about killing. Alas, poor Yorick, that's about death. And in Romeo and Juliet everyone up ends up dying. The greatest dramas in the world are all about sex, violence and death.

All those [events in history] were such dramas as we see now, only with different actors.

All they teach you in drama school is how to do stage fights and be a pain in rehearsals.

All writers, musicians, artists, choreographers/dancers, etc., work with the stuff of their experiences. It's the translation of it, the conversion of it, the shaping of it that makes for the drama.

A lot of dramas get a bad name commercially because they are unremittingly bleak.

A lot of people are doing television now. Great, legendary actors are doing movies on cable and stuff now, and you can't blame them, because they're still doing adult dramas and adult comedies on those stations.

A lot of people who do drama say comedy is the hardest thing, but, not wanting to sound like a bighead, comedy is easy for me, as I've always been fairly funny.

A lot of period dramas can appear quite arch to most people, stuffy.

A lot of the films now are more focused on the visuals than on the actors. I think all directors should go to drama school.

A lot of the distinctions that we make between drama and documentary are spurious. We're deeply confused about these issues. About the difference between the two, about where documentary ends and drama begins.

A lot of times the movies I think are the funniest are dramas. I feel like dramas are so much funnier because they're actually capturing human beings. Humans are so weird and clumsy, and that, to me, often makes me laugh more.

A lot of times, drama around it is not for the worse but for the best in the long run. If we look at it that way, I have learned to find the best of it in most situations.

Also, they don't understand - writing is language. The use of language. The language to create image, the language to create drama. It requires a skill of learning how to use language.

Although the drama of games of strategy is strongly linked with the psychological aspects of the conflict, game theory is not concerned with these aspects. Game theory, so to speak, plays the board. It is concerned only with the logical aspects of strategy.

Although pretend play is important, it is still the means to an end, not the end itself. Do not make the mistake of thinking a contrived, pretend drama can substitute for real interpersonal comfort in dealing with important emotional issues.

A man needs a friend to share goals with, a woman to share his heart with, and a nation to serve with all of his heart. That's the best life one can live.

An actor who is good at comedy can also be very good at drama, but not necessarily vice versa.

American men are more open, they are readier to express their emotions, but they also get frightened easily. Italians are used to drama. For us, arguing, shouting is perfectly normal - for them it is inconceivable.

Americans must outgrow the unbecoming arrogance that leads us to assert that America somehow owns a monopoly on goodness and truth - a belief that leads some to view the world as but a stage on which to play out the great historical drama: the United States of America versus the Powers of Evil.

An actor is looking for conflict. Conflict is what creates drama. We are taught to avoid trouble [so] actors don't realize they must go looking for it. Plays are written about...the extraordinary, the unusual, the climaxes. The more conflict actors find, the more interesting the performance.

A national crisis, a political convulsion, is an opportunity, a gift to the traveler. Nothing is more revealing of a place to a stranger than trouble. Even if a crisis is incomprehensible, as it usually is, it lends drama to the day and transforms the traveler into an eye witness.

Americans don’t want drama, especially good drama, they just want their boredom killed.

American radio is the reverse of the Shakespearean stage. In Shakespeare's time the world's greatest dramas were acted with the most primitive technical arrangements; on the American air the world's most primitive writing is performed under perfect technical conditions.

Among all the complaints you hear these days about the crimes of the media, it seems to me the critics miss the big one. It is that especially TV, but also we of the print press, tend to reduce mess and complexity and ambiguity to a simple story line that doesn't reflect reality so much as it distorts it. ... What bothers me about the journalistic tendency to reduce unmanageable reality to self-contained, movielike little dramas is not just that we falsify when we do this. It is also that we really miss the good story.

Ancient societies had anthropomorphic gods: a huge pantheon expanding into centuries of dynastic drama; fathers and sons, martyred heroes, star-crossed lovers, the deaths of kings - stories that taught us of the danger of hubris and the primacy of humility.

An age where you feel like you could love anyone, where you put everything on the line for the smallest of things. Eighteen. Adults say that it's an age where we laugh if a leaf tumbles by. But back then, we were more serious than any adult, more intense, and had our strength tested. 1997. That was how our eighteen was beginning.

And you know, whether it's drama or comedy, the best work is based on truth. It's just that, with comedy, the circumstances are just crazy-heightened, and you have these crazy things thrown at you. But you still have to do it truthfully, because that's where the humor comes from. So it's not that difficult to cross over.

And knowing that the only alternative to your grief is the nothingness that’s fast approaching, you try to embrace your own sorrow, to be open and empty and let it all pass through you. This is the key, you have learned – to relinquish control, to relinquish the desire for control. Even in this late drama, to try to control is to go mad. And so you do your best to let it all go.

And the only studies were - Rodney Dangerfield was my mentor and he was my Yale drama school for comedy.

Angels in America' - which is composed of two three-hour plays, 'Millennium Approaches' and 'Perestroika' - proved to be a watershed drama, the most lyrical and ambitious augury of an era since Tennessee Williams's 'The Glass Menagerie.

Any long work in which poetry is persistent, be it epic or drama or narrative, is really a succession of separate poetic experiences governed into a related whole by an energy distinct from that which evoked them.

An intelligent observation of the facts of human existence will reveal to shallow-minded folk who sneer at the use of coincidence in the arts of fiction and drama that life itself is little more than a series of coincidences.

A novel is a static thing that one moves through; a play is a dynamic thing that moves past one.

An important part of building a new culture was allowing people to complain about their past. At first, the more they complained, the worse the past would seem. But by venting, people could start to resolve the past. By bitching and bitching and bitching, they could exhaust the drama of their own horror stories. Grow bored. Only then could they accept a new story for their lives. Move forward.

Any claim to actual identification as a drama must rest upon the construction of a plot independent of the assignment of affliction to the protagonist.

Anyone can write. But comedy, you've got to do some writing. You get one comedy script to every 20 dramas.

Any performer would love to have the opportunity to be able to express themselves in many different areas. If you feel confident in those areas, you would hope to have the opportunity to do them, whether it's drama, comedy, musical, or whatever your interests are.

Anything has a rhythm to it, comedy or drama. There has to be a musicality to it. And everybody can't play the same instrument, ideally. But I think that we all have the same comedic tendencies, and that's why it works. We all sort of agree with what's funny.

A person like me... isn't even worth the tip of a toe. I can't even compare to half.

A person has to live in a house for it not to break down.

A perfect method of adding drama to life is to wait until the deadline looms large.

A pretext-not a cause-is sufficient for us to enter the "solitary situation", the situation of the dreaming solitude. In this solitude, memories arrange themselves in tableaux. Decor takes precedence over drama. Sad memories take on at least the peace of melancholy.