A Quote by Matthew Lillard
There's not a comedy actor who doesn't want a chance to do drama, and vice versa. As actors, we're always looking to be pushed and to do the other side of the coin.
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I'm a big believer in comedy writers. I've always defended the honor of all comedy writers. It's extremely difficult, but I've always felt that comedy writers far more easily can move toward drama than vice versa.
An actor who is good at comedy can also be very good at drama, but not necessarily vice versa.
As a writer, I haven't delved into dramatic writing. As an actor, I could always, even more so than comedy, do drama. When you do your comedy and your drama, your acting style doesn't change. If it's a comedy, the situations and the characters might be a little funnier, but you're just trying to be honest.
It has always seemed slightly uncomfortable, the idea of politicised musicians. Very few of them are clever enough to do it; if they're good at the political side, the music side suffers, and vice versa.
As an actor, you don't often get a chance to know exactly the impact of what the audience is seeing, even though you can ask where the frame is. A move that feels tiny can be huge, and vice versa.
I can do comedy, so people want me to do that, but the other side of comedy is depression. Deep, deep depression is the flip side of comedy. Casting agents don't realize it but in order to be funny you have to have that other side.
Comedy and drama are different sides of the same coin. And the thing about comedy and drama is about likability. It's about character first. It's about story. And for me, it's about empathy, and I think the realer someone is, the further you can go either way with them.
It takes awhile for writers to get to know actors rhythms, not just as actors, but what they bring to the characters. I think it takes a few episodes for the writing room to catch up to the actors and vice versa.
An actor is looking for conflict. Conflict is what creates drama. We are taught to avoid trouble [so] actors don't realize they must go looking for it. Plays are written about...the extraordinary, the unusual, the climaxes. The more conflict actors find, the more interesting the performance.
I've always thought that comedy was just another dramatic expression. I try to measure the amount of truth in a work rather than just looking at the generic distinction between comedy and drama. There's a lot of bullshit drama that leaves you totally cold. And there's a lot of wasted comedy time too. But when you get something honest, it doesn't matter what label you give it.
I think that you can make a drama and have it be intensely funny, and vice versa.
I am a fan of all genres. My big thing is to serve the purpose of the script and what the director wants. If it's a comedy, I want to be funny; if it's action, I want to bring the action. If it's drama, I want to be the catalyst for that drama. That's the fun part; it never gets boring being an actor.
People seem to want to give 'Flowers' a comedy or a comedy-drama label. I suppose it's closer to comedy-drama, but it feels like it requires a whole new definition all of its own.
The Western press has always insisted that India was Pakistan's enemy and vice versa, that the Hindus were against the Muslims and vice versa. They've never said, for instance, that my party has been fighting this attitude ever since we have maintained that religious hostilities are wrong and absurd, that minorities cannot be eliminated from a country, that people of different religions must live together.
The director is as good as the actor and vice versa.
The barrier between TV and movies has come down and film actors are willing to do TV and vice versa, because they just want to follow what's interesting.
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