Quotes About Drama

'Suddenly Susan' is my life.

Susan Lucci was the biggest star in the daytime galaxy, and she served it up hot and fresh and chic five days a week. Before there was Joan Collins's Alexis Morrell Carrington Colby Dexter Rowan on 'Dynasty,' there was Erica Kane Martin Brent Cudahy Chandler Montgomery Montgomery Chandler Marick Marick Montgomery on 'All My Children.'

A lot of times, I think people feel that new plays are suspect, and actually, I don't know where that came from. I completely disagree with it!

You've either got to find a way to make your continuing characters insteresting without making them maudlin or overwrought, or you've got to put more emphasis on the suspects.

One of the most difficult things in opera is for people to suspend disbelief.

'The Invitation' is a meditation on grief and loss carried within a suspense drama. At its core, it's about a dinner party gone horribly wrong and about the consequences of denying our pain.

Every story needs an element of suspense - or it's lousy.

I like to play characters that get to do it all - to have a bit of comedy here and a bit of pathos here and a bit of suspense here, that's what's fun.

Suspense is a real tough beast in terms of the filmmaking.

Ideally, I like to integrate the human issues into the suspense story itself.

I believe that the writer should tell a story. I believe in plot. I believe in creating characters and suspense.

In suspense novels even subplots about relationships have to have conflict.

I'm reaching for emotion and drama, the drama of the everyday: what happens when you don't have shelter, food, and clothing. There are some stakes. If you're displaced or evicted, there's a suspense: How will you solve that?

Sometimes I read a script and it's obvious from early on that it's one where the suspension of disbelief has to develop strongly from page one. Some are more reality-based.

I've done a lot of comedy recently, so I would really like to explore something else. I am hankering after a really meaty, dramatic role... like Natalie Portman's part in Black Swan.'

When I saw the movie 'Black Swan,' I liked the darker aspect of it, the more dramatics, and that's what I like to do for my programs.

Very often, as an actress, there's some kind of stereotype, but with any good script, you should be able to swap the genders of all the characters, and it shouldn't make a huge difference.

I was not the young heroic model for 'Hamlet.' I tended to play those characters that orbited around them: the rogues and the rat bags and the idiots and the fools and the clowns that sway the plot somehow from a tangent.

I am certainly not drama-free in my life, and I used to be a lot more feisty, but I have arrived at a place where I really try to not sweat the small stuff anymore.

I'm actually a very romantic person, and I would like to play in a love story. As long as it doesn't get too sweet. That's not me.

I wasn't a sweet kid. I was an instigator and provoked everyone with my goofy hyena cackle, loving every minute of the drama I could create.

I remember on 'Jug Face' working with Chad Crawford Kinkle, who is as sweet as they come. He told me someone had given him advice that if you're making a drama, you basically need to put your main protagonist through living hell in every scene, and then you'll have a successful film. He laughed it off until watching me every day!

I've read some criticism of 'The Good Doctor' that says it's overly sweet and syrupy. I'll take that criticism, given the world that we live in. I'd much rather be on that side of the equation than the opposite.

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.