A Quote by Robert Webb
I was in the play 'Fat Pig in the West End,' which is a comedy but has dramatic moments.
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I love to play humorous moments in dramatic shows. That's always the most fun: to keep the logic of the character in a show that's basically action-adventure and then play the comedy moments.
In a film, there are dramatic moments and a bunch of different moments that lead up to a dramatic moment. On some songs, I try to paint the picture of before that drama happens, so by the time you get to the end of the project you've experienced infatuation and intimacy before it dives off to drama.
In the West audiences think I am a stereotyped action star, or that I always play hitmen or killers. But in Hong Kong, I did a lot of comedy, many dramatic films, and most of all, romantic roles, lots of love stories. I was like a romance novel hero.
In the West, audiences think I am a stereotyped action star, or that I always play hitmen or killers. But in Hong Kong, I did a lot of comedy, many dramatic films, and most of all, romantic roles, lots of love stories. I was like a romance novel hero.
Slice of life comedy is something which I enjoy more. These moments make you smile when you think about them. And these moments work for a film as well, rather than slapstick comedy.
I consider my comedy to be dramatic comedy. I always wanted music underscoring the dramatic monologue. It was always drama with comedy, in my head.
Life is dramatic and comedic at times. Sometimes in the most dramatic situations, there is comedy. And good comedy comes from a sense of reality.
I love attempting to play real people. I like to try and have dramatic moments as well as comedic moments, and my favorite thing is when those two lines are blurred.
I always found the dramatic side of things easier than the comedy, because there's so many ways to do comedy, and it's also subjective. Someone might not laugh at what you do, whereas if you're going to do a dramatic scene, there's usually only one way you can do it.
In 2004, I was on the West End stage in The Woman In White, and for every show I had to climb into a fat suit to play the obese Count Fosco. It was hard work, and unbearably hot, but I sailed through because I'd always kept myself fit.
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.
That straight man character is a short trip between comedy and drama in a project, so I can play the comedic beat on the same page as a dramatic beat. It gives me a lot of freedom as an actor to play scenes in multiple ways because I don't play the clown, nor do I play someone who is particularly maudlin.
I don't think it's a good advert for any restaurant, a fat chef, and secondly, who wants to eat a dessert when the chef's a fat pig.
The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.
There is too great a tendency (perhaps encouraged by popular journalism) to deal with the dramatic moments, forgetting that these are not always the most significant moments. ... To find the significant rather than the dramatic features of industrial controversy, of a disagreement in regard to policy on board of directors or between managers, is essential to integrative business policies.
I just like comedy in general. My film work, which has been at times more dramatic, has been satisfying. But I never feel quite as good and as light and blissful as when I'm doing comedy.
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