Quotes About Drama

I feel really comfortable with going for the reality of the drama, but I'm not much for the comedy of it. You have to make people laugh, or you have to be true to the character in such a way that makes people laugh. It's a whole different thing.

I can do one 'Breaking Bad' in a night, or one 'Game of Thrones.' But 'House of Cards,' I can really do three in a night. I get sucked in.

I'm a sucker for a good movie.

I don't know why, but I've always been a sucker for roller coasters in movies.

I'm just a sucker for a good script.

Let's face it: families behind closed doors are the funniest thing ever - the way people talk to each other, the way you fight for 30 seconds, and then all of a sudden you're crying. Families are just ripe for comedy.

When you're on an ensemble show and you're messing around with everybody every day and you're not in every scene, and then all of a sudden you're in every scene, it's rough.

That's the thing about 'Torchwood': It will pull the rug out from under you. It goes along being cute and campy and gay, and then, all of a sudden, it'll nail you.

I grew up on these long, drawn-out stories with four pay-per-views a year where things paid off. Everything was done for a reason. Then all of a sudden, I find myself in NXT and I get to play that out. I'm playing out my childhood.

Nothing is forever, and I do still talk about when I'll come back to Britain. I'd love to come back and do a nice big juicy period drama. I don't understand it when people suddenly turn their back on Britain or Scotland. I'm so aware of it, and it's so much a part of who I am.

So, in the last year, the whole cast sued for release from our contracts.

Always make the audience suffer as much as possible.

This life is not man's own show; if he becomes personally and emotionally involved in the very complicated cosmic drama, he reaps inevitable suffering for having distorted the divine 'plot.'

Pacino's always played the suffering prince. I just find that interesting.

We are not yet at the point where our size, our being the drama industry, is sufficient to support full time professional crews, and that is very very important.

'Queen Sugar' is a drama about family. It's something that allows us to be ourselves and see the ways that we interact with our own families.

My drama instructor suggested I try comedy. I was resistant at first because I considered myself a serious actor, but of course I fell in love with it.

New York is the Hollywood of the publishing industry, complete with stars, starlets, suicidal publishers/producers, intrigues, and a lot of money.

I always get cast as the girl who's dying or the girl who's killing or the girl who's suicidal - all these heavy roles. But I like playing them.

Put me in a costume, and I'm your man. I must have one of those faces which seems to suit period drama more than modern films and TV programmes. But I'm not complaining, I love going back in time. I feel quite lucky because nobody knows who I am. I can walk about and have ordinary conversations with people.

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.

I suit high passions, and I can play women who have undercurrents going on.

But I didn't really enjoy my secondary education that much, probably because I am a very physical person and don't enjoy sitting at a desk all day. I just dragged myself through GCSE and A Levels, so it suited me very much to go on to drama school, which was very active.

Acting really suited me because I could connect as an actor to emotion.