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Drama Quotes

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Drama Quotes

“It's great when you can bait and switch people - and I don't mean that in a negative way, I mean that in truth. If we were advertising this movie as a very serious indictment about the hunt for war criminals, and it's a very dark drama, it would probably get great reviews, but people would stay away from it because no one wants to be lectured.”

“Larry and I, and a bunch of our colleagues, were sitting on great stories that needed to get out to an audience in one way, shape or form. We've both produced comics in the past, and audio dramas seemed like a similarly interesting option, the other side of the coin. As we've continued with the project, the format has become a vital way for us to tell our stories.”

“My dad was an actor, and my older sister is an actress, and so I very much remember thinking, "Well, of course I'll do that as well." But I never imagined myself as an actor who would be in films. I always only thought of myself being in a play or a musical and maybe the odd episode of [U.K. '80s TV drama] Casualty. My backup plan was to do something with children, to start a nursery school or work with underprivileged kids. And I still dream of maybe doing that in some way. I've always got children in my house, always.”

“How do you get the protagonists and antagonists together, in the same space, without somebody having to die? So, we ended up having to tell two distinct stories, which is never the ultimate way to create a great serialized drama. So then, of course, we had the tragedy with Andy [Whitfield], which made everything very difficult and pushed back.”

“McLeod's Daughters was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera. I learned a lot of technical aspects that you take for granted once you know them, but you have to learn them somewhere, along the way. It was a bit of a training ground for me, working in front of the camera and also dealing with media.”

“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.”

“The road to hell is paved with reasonable religion with a non-anxious god. Most days, I'm pretty happy driving down that road. But I keep running into this Crazy Fellow along the way. At every stop light, he jumps up and down to get my attention. He pounds on my window asking me where the heck I think I'm going. He stands on the front bumper, shouting at me to turn around. When all else fails, he throws himself in front of the car. He's such a drama queen.”

“I think that's actually what draws me to family stories: the various roles we each play with each member of our families, and how different they can be from who we are with our friends and partners and lovers. I'm endlessly fascinated by how we navigate these family dynamics; they are the dramas each of us live out day after day, often in ways we don't even realize.”

“I come from a little bit of a theatrical background. I started that way. I don't have a tremendous body of work or anything, but I went to drama school. And so, to get to do a piece where the characters get to talk a lot, and that isn't just about the spectacle or the set piece, or is simply visual or movement based. It was really wonderful for me, and juicy and exciting.”

“I love really exploring... you know, a cop drama for example is a great way to explore class in this country and explore, you know, really, identity in the country and who we are in a way that is extremely exciting, but it's also real, you know, it's also real people and real drama. The same with the military. I mean, a good science fiction story is also great.”

“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.”

“Where we're telling the story of the history of the ensemblist [in the "Ensemblist Essentials"], using the nine musicals that have won the Pulitzer Prize for Drama as fixed points in time We're going from 1931 to 2016 and using these shows to talk about what the typical show was like for an ensemblist at the time; did this show change anything about that job, while it was changing everything about the way theatre was written and produced and made?”

“I think there's definitely a way to tell a story, to also look at marriages that are working, but find drama from what's challenging them. That's what I think, certainly, 'Parenthood' is kind of about: the unexpected things that come up in your life that challenge you as a man, as a woman, as a husband and a wife, and as a parent.”

“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.”

“People ask me all the time what it's like to work with my mother. I feel completely blessed because, first of all, this has given us an opportunity to enrich our relationship in ways we never could have imagined. Our time together is purely creative. It's unfettered by politics or the news of the day or aches and pains or family dramas or anything else. This time together is sort of golden and protected as being just creative time, which is heavenly.”

“I think that the drama of people rising up demanding their own freedom is one that resonates very deeply with America. I think that President Barack Obama has tried and would like to find a way to relate to the Arab Spring, but I think he also wants to be, rightly, very careful that we don't take it over. It is very important that they own this. He is trying to influence it this way but without, "We're so never going to go to the extreme of Iraq and putting boots on the ground again."”

“The market literature, which was particularly strong in Igboland, in Onitsha, today it is no longer strong. It is one of the victims of the civil war, that market was actually destroyed and at the end of the war a new Nigeria has struggled to come into being and I believe that what is probably going to replace the market literature might be the video, which they have taken to in a big way, creating dramas. So that may be the next thing way we will see coming out of the local basic level in our society.”

“I think Trump has made it really hard for people to read, period. He's made it hard for me anyway. Part of his evil is the way it constantly distracts us, constantly upends our horizon. To leave your computer for three hours now is to miss a year's worth of drama. This is programmatic and common to other autocratic regimes of our times.”