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Drama Quotes

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Drama Quotes

“I like playing the social convention. If you're in a period drama, there's always something dancing underneath the surface as a human - but then you always have to conform to the social conventions around you, and those two things get to be juxtaposed against each other. You're being human, but you're trapped within the social convention of the time.”

“The power of music, narrative and drama is of the greatest practical and theoretical importance. ... We see how the retarded, unable to perform fairly simple tasks involving perhaps four or five movements or procedures in sequence, can do these perfectly if they work to music.”

“The Christian faith is the most exciting drama that ever staggered the imagination of man-and the dogma is the drama ... The plot pivots upon a single character, and the whole action is the answer to a single central problem: 'What think ye of Christ?'... He was emphatically not a dull m an in his human lifetime, and if he was God, there can be nothing dull about God either.”

“I don't think it's good when entertainment tries to proselytize and I don't think people ultimately want someone showing up in their living room and just hectoring at them all day long. But if you can create a space where people are caught up in something - whether it's a drama, a comedy, a romantic comedy, or science fiction - that's when people give over their minds and allow their emotions to flow.”

“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!'”

“I was 11 when a teacher suggested to my parents that they should send me to drama classes to curb my disruptive ways in the classroom. The next Saturday I was acting, and thereafter it became a ritual of my youth to see a show at the Belvoir on Sundays and, if I was lucky, another at the Opera House on Monday after school.”

“Opera on television in Europe is very important. If you think about it in the broadest sense: a lot of the dramas made in India with music are practically operas. They're not sung but they have a very big appeal. I don't know why American television people are so stupid but at the moment, they just seem to have some sort of a block. They just do what they do and they do it for a certain number of years. Then it wears out and they try something else. It's just a matter of time I think.”

“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.”

“There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. And you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. And I suddenly thought that that's not necessarily the case. And I also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.”

“As for whether genre considerations influence what I write, they don't at all, but I might sell more books if they did. The Night Journal is a hodge-podge of historical fiction, western, mystery, and contemporary domestic drama. It doesn't settle into a specific market, reviewers have a hard time describing it, and sometimes it gets classified weirdly in bookstores. But from a writer's standpoint, I like that it's hard to categorize.”

“I don't know if Britain ever really achieved that much glamour. We had post-war austerity rather than post-war prosperity, and our cultural products of the time include some pretty dour kitchen-sink dramas of the A Kind of Loving variety. (This kind of film seems disillusioned with the sixties before they've even really begun.)”

“I kind of pride myself on coming onto things that are well-oiled machines and finding a way to bring what I bring and fit in, and raise it to another level if I can. And this [Code Black ] has been another one of those really fun success stories, much like Parks And Recreation, although obviously on the other side of the comedy/drama equation.”

“The thing about drugs is that it [dealing] gives people an income to deal with, and it also gives people a compelling drama in their lives that they used to get from the office and the factory, and they're no longer there. What happens if you have everything in the hands of the state, particularly in the line of an authoritarian state, they just give people drugs to keep them doped up, to keep them passive.”

“The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.”