Quotes About Dramatic

I was never much of a singer. I was terrible. It's embarrassing: I was trying to sound like everybody else. I went through a big Cure phase, so I was trying to do that kind of dramatic voice.

Don't get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That's a story. Handled properly, it's more dramatic than any apocalypse or goblin army could ever be.

My singing voice has sort of an Ethel Merman-type quality: just, like, loud and strong and full.

My kids make me laugh every single day - especially when they're their most precocious. My son said to me the other day, 'Why are you so dramatic?' And I just thought, 'Really? You know that word? And also, you've already noticed how dramatic I am?' That just really made me laugh.

I started in theater. I would liken sitcom work more to theater work than I would, perhaps, to dramatic television. It's so quick. It kind of feels like the pace of a play.

Definitely for myself, I find myself gravitating towards dramatic work. In terms of sitcoms, you know, I always tell my agent I don't want to be seen.

As much as I loved Pacino and De Niro and wanted to be a dramatic actor, I also grew up on sitcoms. I grew up on 'M*A*S*H' and 'All In The Family' and 'Cheers.' And then around this time - this would have been '95, '96 - I was so into 'Friends' and 'Mad About You,' the idea of being on a sitcom became a very real thing that I wanted.

I'm a history buff, and right now we're sitting on one of the most dramatic historical shifts that this planet has ever seen and we have a front row seat for it.

I'm drawn to provocative characters that find themselves in extreme situations. And I think I'm drawn to that consistently.

Heading is a skill, and it would be a shame to lose that from the game. There is nothing more dramatic than when you see someone score a diving header, for instance.

My God, I'd love to smash into the casket of Dostoyevsky, grab that bony hand and scream at the remains, 'Well done, you god-damn genius.'

I used to coach a lot of hockey. I'd love to be a hockey coach, a bit more of a dramatic role and not comedic. I would go back to my hockey roots, that would be fun.

While I love working on dramatic characters and stories, it's comedy that I love the most. For me, it's incredibly rewarding to make a person laugh. Laughter is one of the greatest parts of life.

Shakespeare was the Homer, or father of our dramatic poets;Jonson was theVirgil, the pattern of elaborate writing; I admire him, but I love Shakespeare.

I have other tastes besides comedy. I love comedy. I adore it, but I love dramatic movies just as much.

My favorite movie is The Wizard of Oz. I love the fairy tale of it. And Gone With the Wind was always one of my favorites because it's so dramatic and stunning.

Locally, changes have been even more dramatic. Greenland ice cores show the temperatures there changing by as much as fifteen degrees in ten years, drastically altering rainfall patterns and growing conditions.

The answer is a complicated, dramatic one. I can tell you at once that nothing you touch today will have more bloodshed, suffering, and woe attached to it than the innocuous twin pillars of your salt and pepper set.

They were, in short, dangerously unprepared for the rigors ahead, and they demonstrated their incompetence in the most dramatic possible way: by dying in droves. Six

The writer's job is to write the screenplay and keep the reader turning pages, not to determine how a scene or sequence should be filmed. You don't have to tell the director and cinematographer and film editor how to do their jobs. Your job is to write the screenplay, to give them enough visual information so they can bring those words on the page into life, in full 'sound and fury,' revealing strong visual and dramatic action, with clarity, insight, and emotion.

Beginning, middle, and end; Act I, Act II, Act III. Set-Up, Confrontation, Resolution—these parts make up the whole. It is the relationship between these parts that determines the whole.

During this second act the main character encounters obstacle after obstacle that keeps him/her from achieving his/her dramatic need, which is defined as what the character wants to win, gain, get, or achieve during the course of the screenplay. If you know your character's dramatic need, you can create obstacles to it and then your story becomes your character, overcoming obstacle after obstacle to achieve his/her dramatic need.

Flavian Estemba, generally called "Mercurio" by those who knew him, stared toward the street, feigned vertigo, swayed first forward over the drop, next back, and so gracefully and bonelessly fell into the garden, and into the arms of Romulan, who, with a curse, caught him.

For nowadays the world is lit by lightning! Blow out your candles, Laura -- and so goodbye. . . .