In a fiction film, we know at some level we've suspended disbelief. In a documentary, we know that we're watching a drama unfold in the world because of the movie we're watching that is real. That has enormous stakes for the whole society, and we, by the act of watching, complete the story.
First I went to C. W. Post and I was a psychology and theater major and then I transferred to NYU's Tisch School of the Arts as a drama major.
I'm really not feeling one way or the other with comedy or drama, I'm just sort of doing projects that I've been finding really fun to be a part of
Because I had grown up with Jane Austen novels and period dramas, I was very familiar with that period and that world.
The only thing you can trust in this world is money and your source of food.
The New Yorker's' drama critics have always had a comparable authority because, for the most part, the magazine made it a practice to employ critics who moonlighted in the arts. They worked both sides of the street, so to speak.
Primitive times are lyrical, ancient times epical, modern times dramatic. The ode sings of eternity, the epic imparts solemnity tohistory, the drama depicts life. The characteristic of the first poetry is ingeniousness, of the second, simplicity, of the third, truth.
. . . when the nature of mind is introduced by a master, it is just too simple for us to believe. Our ordinary mind tells us this cannot be, there must be something more to it than this. It must surely be more "glorious", with light blazing in space around us, angels with flowing golden hair swooping down to meet us, and a deep Wizard of Oz voice announcing, "Now you have been introduced to the nature of your mind. " There is no such drama.
I'll let her go. I won't let her go. I have to let her go. I can't let her go. I can let her go. I don't. . . want to let her go.
The thing I always say to any writer that I'm working with is: Just make sure that in any argument, EVERYONE is right. I want every single person arguing a righteous side of the argument. That makes interesting drama.
I have my team. Like if you see everyone around me - I have my hair and makeup girl, my assistant. They're very calm, they're all about positive energy. There're no drama queens. Everyone wants everyone else to have a positive experience. There are no agendas. I think it creates a healthy environment and there are no boundaries to cross.
My mum put me in drama classes when I was about 14. I'd been going on about it for some time, so maybe it was a way to shut me up.
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.
There's real drama in performing live. You never know how it's going to be.
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.
The drama is the book of the people.
You're attractive because you don't know how attractive you are.
After graduating from flares and platforms in the early 1970s, I started drama school wearing a pair of khaki dungarees with one of my Dad's Army shirts, accessorised by a cat's basket doubling as a handbag. Very Lady Gaga.
The main question in drama, the way I was taught, is always, 'What does the protagonist want?' That's what drama is. It comes down to that. It's not about theme, it's not about ideas, it's not about setting, but what the protagonist wants.
Catherine Land liked the beginnings of things. The pure white possibility of the empty room, the first kiss, the first swipe at larceny. And endings, she liked endings, too. The drama of the smashing glass, the dead bird, the tearful goodbye, the last awful word which could never be unsaid or unremembered. It was the middles that gave her pause. This, for all its forward momentum, this was a middle. The beginnings were sweet, the endings usually bitter, but the middles were only the tightrope you walked between the one and the other. No more than that.
