Quotes About Drama

I was very fortunate to have gone to drama school in London for three years, and that was classical training in the sense that a lot of it was dominated by stage work, so I would love to go back to stage.

I don't think we set out to make it the most intense 'Fosters' finale ever, but I kind of think that's what we ended up with.

The foundation for film acting is stage acting.

What's a better foundation for drama? You have power, you have ambition, you have sex... that's the stuff of drama.

I come from a very close class. I lucked out because drama schools are often very competitive... I have fourteen classmates.

My family is very excited about me doing Anne Frank.

I find the constraints of drama actually freeing: It brings everything down to character and action.

Divorce, and broken marriages, are all around us, but they're not frequently depicted on screen, or if they are, they're often depicted in ways that have very little to do with reality.

In 'Friday Night Lights,' the relationship between the coach and his wife, that marriage was something that you couldn't really understand until you actually saw it exist on film.

When I was at a tough inner-city school, drama gave me a friendship group. It's been so core to who I am and given me such confidence later in life.

With 'Dawson's Creek,' I wasn't a fan of '90210,' and that wasn't particularly my genre of show. 'Fringe,' on the other hand, is right up my alley.

'Breaking In' shows what it's really like backstage at New York Fringe Theatre.

I've run into people in my life who were so dramatic; people who are so extreme and so frustrating to be around that you end up thinking about them and talking about them for literally years after your experience with them is over. I've had that happen to me, and I've seen it happen to other people. I find it fascinating.

A fuel of discontent and anxiety is probably pretty central to the fuel at 'Scandal!'

I used to think I needed to have drama at all times, or I wouldn't have the fuel for the performance. Now I know that's not true. That doesn't mean I don't feel it, but I recognize it when I do and put the brakes on. And if the performance isn't what it might have been once, I've learned not to judge myself as much.

It's always nice to do the flashbacks. That's what's so great about 'Scandal' is that we get to do flashbacks and then keep figuring out and discovering more things about our characters that make them fuller.

I never fully understand all the drama and machinations within the Eagles.

It's never really fun to have to cry in a scene or anything like that.

It's one of the functions of the theater to shock and titillate and appall, apart from entertain and delight.

If you look at 'Network' or any kind of satire, it's fundamentally unemotional in some ways.

At 21, my career took a comedic turn when I was cast in a new Broadway play called 'Brooklyn Boy,' by Donald Margulies, which was equal parts funny and sad. I realized that the more seriously I expressed my character's feelings, the funnier the scene became.

To me, some of the funniest movies would be probably categorized in the dramatic genre, and likewise, some of the most dramatic films, or films that have the most dramatic moments, are in comedies.

Observe that for the novelist who has remained Christian, like myself, man is someone creating himself or destroying himself. He is not an immobile being, fixed, cast in a mold once and for all. This is what makes the traditional psychological novel so different from what I did or thought I was doing. The human being as I conceive him in the novel is a being caught up in the drama of human salvation, even if he doesn't know it.

Come in una commedia o tragedia non è piú in prezzo chi porta la persona del padrone e del re, che chi porta quella di uno servo, ma solamente si attende chi la porta meglio.