Best 2427 quotes in «drama quotes» category

What you have to understand about period drama is that it's 'history light.

When adults come together to form an intimate relationship, each person releases into it unresolved issues from their trans-generational pool of unconscious fantasies. Partners are often chosen to actualize certain potentialities for each other, and the unborn baby becomes party to their drama.

When a novelist or screenwriter is looking for a subject, the element he's seeking is conflict. Conflict makes drama. Conflict produces great characters and memorable scenes. So war is a natural topic.

When a skater steps on the ice to compete, the nerves, the tension, and sheer suspense of that moment make for great drama.

When characters have different goals and are intent on achieving them, conflict results. If the stakes are high and both sides are unyielding, you have the makings of high drama.

Whence had they come The hand and lash that beat down frigid Rome? What sacred drama through her body heaved When world-transforming Charlemagne was conceived?

When I began making films, they were just movies: 'What's the new movie? What are you doing?' Now they're called 'adult dramas.'

When I approach villains, unless it's a drama, I'm a comedian, so I approach most things from a comedic point of view.

When I came into the industry I started with acting and I did drama during junior high and high school. I fell into dancing as a hobby, but whenever you need work, you try out different things. So I booked a lot of jobs for dancing and it kept rolling and rolling.

When I came to know theater, drama became valuable to me.

When I decided to go to university I didn't know what I wanted to do. When I had an opportunity to take an elective I took Drama by chance, even though I'd never taken a Drama course or even been in a play in high school. Two years later I was majoring in Drama and I knew I wanted to be an actor.

When I did 'Battlestar Galactica' it was the first time I really understood science fiction. That was a very political drama, but set in spaceships so people didn't really take it seriously. But some really fascinating things were explored in that.

When I do comedy, my brain sort of locks up in the infinite possibilities. That's where I get sort of lost. I think, "Oh, there are six other jokes that we could say here!" I feel more at home with drama.

When I first got out of drama school, my original manager tried to get me to change my name because people were having trouble spelling it and saying it.

When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.

When I first started getting into acting, I was doing improv in acting class, and I had done a serious monologue and everyone was cracking up laughing and I went to the drama teacher and said I don't want to be the class clown anymore, I want to do serious work, too, and they loved that, and so I started mixing in drama.

When I got out of Yale Drama School, I was completely broke.

When I grew older, I thought I would become an even more special person. But, it's not true. I eat more and I know a lot more things but I just become more pathetic. Is this what it's like to grow old?

When I look at her, my heart brightens up. She's that kind of girl.

When I left drama school, my fear was that I'd get pigeon holed into comic acting and I did so much to counter it that I got stuck in the opposite.

When I left drama school, there were dozens of rep theatres you could apply to where you got a good training.

When I'm engaged in a story my health is not a big deal, but when I'm not doing anything, if you sit me down, I can get tied up in my own medical dramas. So I much prefer to work.

When I read great literature, great drama, speeches, or sermons, I feel that the human mind has not achieved anything greater than the ability to share feelings and thoughts through language.

When I'm writing in my bedroom, in a bar, at my kitchen table or wherever, I'm conjuring it all up on the page. That's all well and good, but it is going to be a limited perspective at that point and time. Occasionally, what I write might read really well initially, but then you change your mind while hunting for locations when you discover settings which offer even better opportunities for drama or dramatic staging.

When I originally sold X-Men it was because I knew there was 40 years of stories. That was the point! Not only to do the movie and establish the characters, you know, you love the one you're doing. It was because there are all these great stories, what a wealth of drama.

When it's a comedy or drama or horror or romance, it's all the same. You want to be honest with the character. You want to play truthfully and you want to be genuine with your character.

When I started drama school, theatre was the main draw. I never had any movie star notions. Not that there were family ties to the theatre, either.

When I want to relax, I plop down on my couch and watch some great movie, usually a British drama - anything with Colin Firth.

When I stand on stage, I get nervous, and because unexpected situations can occur, we need even more preparation. I must have confidence on top of that as well. The reason why I chose drama/theatre as my major is to act after learning all the theory first. You only live once, and I can only live as myself. I think I could learn a lot of things if I can live as others through acting.

When I was a freshman in high school, my drama teacher, an incredible, inspirational genius, the guy who got me into acting, he encouraged me to get the lead in a musical. They didn't have any guys.

When I was growing up you would see big American films that really mythologised their landscape, that really showed the vastness and the drama of their country.

When I was at drama school, I wanted to change the world, and thought I had some great wisdom to impart to people about humanity. Now that I'm older, I know enough to realise that I know nothing at all.

When I was making these damned pictures, I never knew about film noir. If you had asked me about it then, I probably would have pointed to something like Bill Wellman's The Ox Bow Incident, the best Western I ever saw and very much in the style of film noir  I don't care if it's a mystery story, a Western, or the story of Julius Caesar. To me it's the emotion, the lies, the double-cross that defines what kind of drama it is.

When I was starting out, I always wanted to be able to do everything - comedy and drama and action, and everything in between. Film is so diverse, and it's fun to be able to take advantage of all of it.

When I was probably in middle school I saw the mini series Angels in America for the first time and I think Mary Louise Parker's performance in that first of all sparked a deep obsession with Mary Louise Parker, but I also really love Amy Adams because she gets to do comedy and drama so consistently.

When I was writing the script, I knew didn't want to make a sports movie. I was very clear that I wanted to make a sibling rivalry story. So when I was writing the script, the football was getting in the way of the drama. One day, I saw Michael Haneke's Funny Games, which is probably the most violent film I've ever seen - but the violence is off camera. When I finished watching the film, I said, 'Hey, that's what I have to do.' Haneke gave me this solution.

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 I went to Yale, I thought it would be like in Stenford 24 hours a day. Robert Brustein, former dean of the Yale School of Drama and founder of the Yale Repertory Theater was there, and we did all this very serious - I would go so far as to say completely humorless - Eastern European drama, as well as August Strindberg, and Henrik Ibsen, we weren't allowed to do William Shakespeare or Tennessee Williams or Eugene O'Neill. I was not in the right place.

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

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

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.