Top 1200 Drama Quotes & Sayings - Page 3

The Pleiadians see a huge upswing in the drama on the planet and in individual lives. The drama is not a bad thing. It's just simply getting our attention to that which we need to take care of and notice all that we're still holding onto within ourselves. It's just to act as a mirror.

When you turn your life over to God, you don't give up the drama; you give up the cheap drama.

Most of my training at graduate school was geared towards drama, so I feel good about it, and I can do it, but it requires a lot more work from me. I feel like with drama... well, with all acting, really, you need to honor the truth of the situation.

At drama school we were encouraged to keep fit and healthy, but not to bulk out. We were told to stay lithe to allow our bodies to morph when we're playing various parts. Running is ideal for this, especially when I needed a lean look for the Channel 4 drama 'Cucumber.'

It's a tremendous feeling walking on to a set with a live audience and making them laugh, but I love drama, and I love drama where there's the ability to bring comedy into it because in a lot of tragic circumstances in life there is comedy to be had.

I love drama. Drama is, like, my thing. I want a movie that will move something inside me, that's going to shift something and keep me thinking.

If democracy is to survive Facebook, that company must realize the outsized role it now plays as both the public forum where our strident democratic drama unfolds and as the vehicle for those who aspire to control that drama's course. Facebook, welcome to the big leagues.

I think that's what makes characters interesting - when you paint a person into a corner, and you see what they do to get out of that corner. It's what makes drama drama.

When I was trying to find work after drama school in London, it felt like the same actors always got the plum roles, especially in television. We have a smaller market place, vastly fewer drama-producing networks, and they seem to compete for the same established names for those projects.

I mean, he was something that happened to me, you know? But before he was this minor figure in the drama of my life he was - you know, the central figure in the drama of his own life.

It's tough and it should be tough - it should never be easy to be given millions of pounds to make a drama. The coalition government is doing terrible things to the BBC, but drama will survive even if we end up putting on a play in a backroom of a pub.

I've always liked drama; I've always found it really fun, like, I did go to drama club and things like that.

I never had an aversion because I was active in the drama club. If I had that aversion I certainly wouldn't put myself in the position of being on stage. Of course, in the drama club you're hiding behind a character.

Violent drama has been a hallmark of every great civilization. It is not the cause of the disease - it is an immunizing factor. People go to the theater to experience emotions like fear and loathing. Violent drama shows us where we come from. It makes us face our hypocrisy.

I'm sure that everything you do contributes to the sort of novel that you write. A lot of actors have an understanding of drama and a good ear for dialogue and also the rhythm of speech. Similarly, my 16 years in radio drama has influenced me. You only have 45 minutes, or 7,000 words, to tell a story, so every scene has to have a point.

Oratory, like the drama, abhors lengthiness; like the drama, it must keep doing. It avoids, as frigid, prolonged metaphysical soliloquy. Beauties themselves, if they delay or distract the effect which should be produced on the audience, become blemishes.

I really like people who can do both drama and comedy and not some like middle of the road do both drama and comedy. I'm not talking about some guy who does these bland dramedies all the time. I'm talking about people that have done heavy drama and who have done heavy comedy.

I was just this little theater geek. I joined the drama program my freshman year. I read the morning announcements my sophomore year. I didn't have to eat in the cafeteria with everyone else because my drama teacher was cool. Everybody knew who I was, and that's all I ever wanted as a theater kid.

Everyone wants drama. Everyone is living for drama.

I went to drama school and, after that, went to Paris to train at a place called Ecole Philippe Gaulier. When I came home, I realised I'd have to have a serious stab at it. I didn't have an agent and didn't have the traditional drama school showcase, so I started a comedy group with a couple of friends.

I lost my athletic scholarship by injuring my right knee. That right knee kept me out of Vietnam, and I went into Drama. I put them all together with a football foundation and the house was built on Drama - and love and kindness and understanding and grace.

If you want to see great mixed martial arts, tune in when I fight. If you want to see drama and all of that stuff, you guys can go watch 'Bachelors in Paradise.' They'll give you enough drama you can want to watch.

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'm just an actor. If it's drama, I add as much humour as the part will stand. And if it's a comedy, add as much drama as you can, so it balances out; you don't wanna be too serious.

When the drama of history is over, Jesus Christ will stand alone on the stage. All the great figures of history ... will realize that they have been but actors in a drama produced by another.

I did a lot of stock before I even went to drama school. I sort of went in the back door of drama school and I had joined in a stock company to get my experience.

There is a lot of hype about drama school, I think. If you're an actor in England, that's just the way to get into it but I've been so incredibly lucky in that I was brought up in to it. I still might go to drama school, if I wanted to do theater work, definitely. It's a completely different type of training.

I felt quite confident - when you come out of drama school you feel like you're on top of everything. I always tell people to go to drama school even if they've already done movies or whatever because the way you encounter content is so different.

Everyone always says that conflict is drama, and I agree, but I also don't think you need drama everywhere. Or conflict everywhere.

I like storytelling, and for storytelling you need a drama. And for there to be drama, you need twists, and by twists I mean the ability to constantly change the trajectory of the story.

We like drama. Even in our comedy, we like drama.

Her drama was a drama not of heaviness but of lightness. What fell to her lot was not the burden but the unbearable lightness of being.

I really like films and plays that cross over different genres. So I'd like to do something that you think is a drama and then you think is a supernatural thing and then becomes a drama again. That's very vague.

I think all good drama is funny. All the best drama is ultimately very funny. Life is funny. You can't have any honest treatise on life without bumping into some humor.

I think everything needs to be played real, for reality's sake, for truth. And that is the drama and the comedy. When you do that, it's funnier. And when you do that, you really do hit the emotional beats. I do it the same way as I do a drama. I just play it for truth, and then maybe have a little bit of fun with it sometimes.

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.

Being on 'The Office' prepared me for drama. Comedy got me ready, but once you get down to it, they're two sides of the same thing. I mean, the delivery has to be different - in drama, there's more time to breathe, and comedy's all about hitting the joke.

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.

Those who are living out the drama and the violence still need to live that out for their experience, while others of us have gone past that need - but we're still witnessing it from a distance. What the Pleiadians are saying is don't engage in drama that is not ours.

I love drama - I would say more than I even love comedy - but I like in One Mississippi that I can go from a very moving moment to a Willy Wonka tube up my ass. I like the silliness as much as I like drama.

I have two dream roles: One would be a biopic of someone I admire and respect and the other one would be some sort of action drama film similar to a 'Bourne Identity.' I just really want to do an intelligent action drama film.

Comedy prepared me for drama. There are a couple techniques you can think of. One of my acting teachers said that comedy is like ping-pong, and drama is tennis. You take things a bit slower, so you do get to breathe more and take some more time.

I think the only real referent for anybody writing drama is probably Hamlet. You have the most extreme tragic drama, this sort of blood-boltered thing, but it's also very funny, which is simply a matter of the playwright being alive and observant and entertaining, and understanding not only the world but what will play.

Domesticity is essentially drama, for drama is conflict, and the home compels conflict by its concentration of active personalities in a small area. The real objection to domesticity is that it is too exciting.

I really love idiot, enlightened characters - these characters who fail to engage with the drama of their immediate circumstances; they fail to be reactive and enrolled by drama as it happens around them.

I went to drama school but soon realised I was terrible at acting, so I ditched drama school for art school.

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.

It made me love talk that sought answers to questions that could help nobody, that could only keep alive in me that enthralling sense of wonder and awe in the face of the drama of human feeling which is hidden by the external drama of life.

I believe there should be no more drama, but it's everywhere you go. It's just about how you get out. You've gotta bob and weave because it's everywhere. How do I keep the drama low? It's about using your head.

I'd been wanting to work with James McAvoy since I was in drama school. I suppose there are parallels in that we're Scottish, we went to the same drama school and share the same agent, but aside from that, he's someone I've looked up to.

I wasn't originally taking drama, but the drama teacher asked me to audition for Bye, Bye Birdie. I did and got the lead role. Initially I was kind of scared, but once I did it I got bitten by the bug and loved it.

About a year after leaving drama school or a year and a half - and I was working solidly ever since leaving drama school - I picked up 'Game of Thrones.'

Every weekend the drama department would have parties. The 20 hot girls on campus? All of them were in the drama dept. So we'd have somebody standing guard at the door to keep all the computer science guys out. We had to guard our women at all times.

God is waiting for the response of our freedom. Our own choice, our own creativity, is essential to the drama, and this makes the world a drama fraught with real peril.

It is a very strong rule in drama, and in life, that people remain true to their basic natures. They change, and their change is essential for drama, but typically they only change a little, taking a single step towards integrating a forgotten or rejected quality into their natures.

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 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.

The drama's laws the drama's patrons give. For we that live to please must please to live.

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.

In my last year of drama school, I was Abigail in 'The Crucible' and Nina in 'The Seagull,' and I did some Shakespeare with the RSC. That's what casting directors saw me in, and I got put up for a lot of period drama auditions. I always get told I suit the costumes. I don't think I have a very modern-looking face.