The ideal situation would be to bypass all of the drama and mayhem and just get the music right to the people. I'm confident that we'll eventually figure it out.
Culture clash is terrific drama.
As a writer I'm committed to exploring what I call "The invisible things" - the things that people aren't talking about. I think that's where the juiciest conversations and the juiciest drama lives. My goal with the series is to get people talking about and reflecting on how issues of race play out in their own lives. Since I've spent a fair amount of time watching time travel shows and movies where the leads are White (and can blend in really easily no matter the time period) I thought I would turn that on its head and see what might happen.
I love comedy, but I actually do prefer drama because I am already animated as a human being.
This thing called curiosity. . . it's a scary thing.
Maybe what life needs is a good soundtrack, especially during the long stretches when nothing interesting is being said. A soundtrack might dignify things a bit, ennobling us with the proper drama and tension and pathos.
He'd been waiting for a love fraught with passion and drama; it hadn't even occurred to him that true love might be something that was utterly comfortable and just plain easy.
This story's gonna grab people. It's about this guy, he's crazy about this girl, but he likes to wear dresses. Should he tell her? Should he not tell her? He's torn, Georgie. This is drama.
I mean even though we were going through our drama I would never wish death on nobody, you know what I'm sayin' Because there ain't no coming back from that
If it's a low-brow bawdy comedy, it's got to stand the chance of succeeding as such. If it's an intellectual piece, a drama, and so forth. And of course, once you've determined the level of the piece, do it the best you know how. And then don't make concessions. To audiences, or to pursestrings, or whatever.
Comedy's my first love. I love that so much. You play comedy in drama, too. The difference between genres doesn't really change the method of acting.
There's comedy in tragedy, and tragedy in comedy. There's always light and dark in most jobs. Whether it's framed as a comedy, drama or tragedy, you try to mix it up within that. You can work on a comedy and it's not laugh-a-minute off set. You can work on a tragedy that's absolutely hilarious.
We need new art. Old art cannot do that. It can do lots of other things, and of course humanity hasn't changed that much in the last thousand or two thousand years. So that the old Greek dramas are still at the very heart, core, of human experience, but still we need new stuff.
People don't want their lives fixed. Nobody wants their problems solved. Their dramas. Their distractions. Their stories resolved. Their messed cleaned up. Because what would they have left? Just the big scary unknown.
You can't make a good show based on pure verisimilitude, pure anti-drama. But you have to acknowledge a lot of ordinary life. Most TV doesn't do that.
I'm really silly. That's the thing that people don't get. I think I'm a stronger comedic actress than I am a dramatic actress. I'm not really pigeonholed, but I'm known for drama. I do comedy so easily, and people relate to my humor. I'll be glad because I don't have to stay sexy and young forever. I don't care if I'm big, as long as I'm funny.
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
I've always wanted to create drama in my pictures, which is why I paint people. It's people who have brought drama to pictures from the beginning. The simplest human gestures tell stories.
I consider myself a 'local' actor in France. I started out in France, I went to drama school in France and the French film community was very welcoming to me when I was a young actress.
The past is never dead. It's not even past. All of us labor in webs spun long before we were born, webs of heredity and environment, of desire and consequence, of history and eternity. Haunted by wrong turns and roads not taken, we pursue images perceived as new but whose providence dates to the dim dramas of childhood, which are themselves but ripples of consequence echoing down the generations. The quotidian demands of life distract from this resonance of images and events, but some of us feel it always.