Quotes About Drama

I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.

I actually went to drama school at the Royal Scottish Academy of Music & Drama in Glasgow, so I stayed in my home town the whole time. However, I see more of my friends now than I did then. It's strange.

A life filled with silly social drama and gossip indicates that a person is disconnected from purpose and lacking meaningful goals. People on a path of purpose don't have time for drama.

Having written Camp David as a drama, I could see the drama maybe a little more clearly when I wrote the book.

You couldn't make a cheap drama. That would be too low-budget. Drama has to have good photography and well-known actors.

I like a drama. And I think that's the basis of good films, or good plays, is to have a nice drama.

I think it's harder to go from comedy to drama than from drama to comedy. Seeing you dramatic all the time, they crave to see you being silly or funny. But, seeing you in comedy all the time, it's hard to see that person go be serious, for some reason.

I think it would be exhausting and depressing, to write, to watch and to live, if it was just focused on drama. It's heavy. Also, I think the humor really highlights the pathos and the struggle. You can slam it up against drama, and it makes both shine.

When you make drama you are like Picasso. Drama is whatever you want it to be.

I really wanted to do a comedy. I've done a lot of drama, and comedy was the one genre I was not being offered. So I became obsessive about getting one. I tried with two little parts in comedies that were more mainstream, I was kind of fumbling around, and then I read The Brothers Bloom and knew it was the one I wanted to jump into. Did it take adjusting? Actually, it's not really any different from doing drama.

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.

Someone told me about drama schools, and they seemed like mythological places - you can really go and be in drama classes all day? I inadvertently entered into this world where people wore bicycle clips and did song-and-dance routines in the corridors.

I was a solid C student because I was doing so many plays. I was a drama nerd, but I was also kind of a Zelig-like character; I would shift between different groups of people. But the people I spent most of my time with were either chorus or swing choir or the drama nerds.

Opera is music AND drama. I'm prepared to sacrifice the beautiful note for the meaningful sound any time... I can make a pretty tone as well as anyone, but there are times when the drama of a scene demands the opposite of a pretty sound.

Drama in our lives is the greatest indicator that we're not focused on meaningful goals. On the path to purpose you don't have time for drama.

Each form of the acting is different. I think it keeps your mind active. TV, film and theater are different disciplines, as are independent films, opposed to studio films. There are differences in the size and the genre, or a period drama as opposed to a contemporary drama, or the types of characters.

There are three necessary elements in a story - exposition, development, and drama. Exposition we may illustrate as "John Fortescue was a solicitor in the little town of X"; development as "One day Mrs Fortescue told him she was about to leave him for another man"; and drama as "You will do nothing of the kind," he said.

I think many of us live in a rut. Stuck in a groove we can't get out of, whether it's our job, family drama or the little frustrations of everyday life.

If centralism is ultimately to prevail; if our entire system of free Institutions as established by our common ancestors is to be subverted, and an Empire is to be established in their stead; if that is to be the last scene of the great tragic drama now being enacted: then, be assured, that we of the South will be acquitted, not only in our own consciences, but in the judgment of mankind, of all responsibility for so terrible a catastrophe, and from all guilt of so great a crime against humanity.

So one time for my disillusioned artists, I hear ya Two times for the kid that air-guitars in the mirror Three times for the 9-to-5-in' bus ridin' dudes And four times for my dreamers, yo I'm just like you That's why I sing for my queens with their own pair of wings My brothers flyin' beside me, drama behind me Mama tried to find me, she inquired emphatically I was in the sky with all these other ghetto kids, defying gravity, uh

I think that the first responsibility of an artist is to follow truth, and the innate original forces and energies that are within them. At the same time, I also think, collectively, that there has to be a place for artists to reflect and deal with the society they're living in. I think that great art inevitably reflects some of the drama and trauma and conflicts that exist in the outer world.

Ive lived this very dramatic life, with high points and terrible low points. Nothing has been ordinary, and I want to have the experience of the last breath. I want a little drama to it.

The Jungian view of drama would be that it affects all of our imaginations and somehow taps into our hidden, ancient, primordial memories.

I think a lot of the instincts you have doing comedy are really the same for doing drama, in that it's essentially about listening. The way I approach comedy, is you have to commit to everything as if it's a dramatic role, meaning you play it straight.

Would you like to know the great drama of my life? It is that I have put my genius into my life...I have put only my talent into my works.

But then I got a job selling coffee at the York Theatre, and when I met theatre people, something clicked. I felt comfortable with them; I felt like myself. I decided to go to drama school based just on that feeling. I had never done any acting.

I had a fantastic teacher in high school. I had one of those guys you dream of having, who molds your life and inspires you to go in a particular direction, and he was quite brilliant. His name was Cecil Pickett, and a lot of the kids from my high-school drama class are in professional show business and have done quite well.

To come to know that nothing is good, nothing is bad, is a turning point; it is a conversion. You start looking in; the outside reality loses meaning. The social reality is a fiction, a beautiful drama; you can participate in it, but then you don’t take it seriously. It is just a role to be played; play it as beautifully, as efficiently, as possible. But don’t take it seriously, it has nothing of the ultimate in it.

It's great extremes which leads to great drama and great comedy.

Drama is always conflict. Conflict either comes from within or without. The thing that makes a show different is the conflict manifests itself both internally and externally.

For me, hour-long drama was always the thing I felt the most comfortable doing, and I've played so many dramatic roles in the theater.

These wrestlers aren't organized. They have no union, no pension and no insurance. You meet wrestler after wrestler who sold out Madison Square Garden ten years ago, basically running on fumes today. There's a lot of drama there.

The drama can only be brought to its climax in one of two ways -- through the selective brutality of terrorism or the impartial horrors of war.

Each suicidal drama occurs in the mind of a unique individual.

I think that there is a role for food to be art; and when food is art, it can have drama, it can have spectacle, it can be theatrical. It can be this amazing experience.

In drama, I think, the audience is a willing participant. It's suspending a certain kind of disbelief to try to get something out of a story.

The mile has all the elements of a drama.

The drama bug strikes hardest with Jews, homosexuals and plump women who wear their hair in bangs. These are people who, for one reason or another, desperately crave attention

I paint the way I do because I can keep on putting more and more things in - like drama, pain, anger, love, a figure, a horse, my ideas of space. It doesn't matter if it differs from mine, as long as it comes from the painting, which has its own integrity and intensity.

Fake is not a word I like to use because there's nothing fake about what I do. It's a show, it's a predetermined outcome; we're putting on a television drama, action, comedy, whatever you want to call it - but it's not fake. Fake would be if I was just about to take a body slam, and my stuntman did it. Fake would be if I was going to take a chair shot to the head, and the chair was made of rubber. I'll tell the world that it's a show, but I hate the word fake. It's such an unfair term to us.

I get fixated when I'm bleeding -- I can see why they went in for blood-letting in the medieval times because it makes you feel a bit better. When I cut myself, the drama of it calms me down.

The offering up or cleaning up ego stuff is called purification. Purification is the act of letting go. This is done out of discriminative awareness. That is, you understand that you are an entity passing through a life in which the entire drama is an offering for your awakening.

Now, drama is quite useful at helping us to understand what our position is and, conversely, we might then understand why our theatre is being destroyed

Endless drama in a group clouds consciousness. Too much noise overwhelms the senses. Continual input obscures genuine insight. Do not substitute sensationalism for learning.

Guy Ritchie, he thinks going to drama school is the worst thing in the world.

Getting older is not nice for anyone, not for men, not for women, and even more difficult for people who depend on their physical appearance. But it's not a drama. I know some people who are much more stressed than I am. And also, I live in Europe; I think it would be much more difficult if I lived in America.

I love female-driven drama, and those kinds of characters. I really love complex women.

I always say that I can play sort of six variations on one girl, all of whom are a variation on me. Maybe I'll think of myself as an actor if, like, I do a corset drama.