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.
The student of Liberty must constantly endeavor to disassociate his imagination from sanguinary dramas of assassination and revolt.
How can you put out a meaningful drama when every fifteen minutes proceedings are interrupted by twelve dancing rabbits with toilet paper? No dramatic art form should be dictated and controlled by men whose training and instincts are cut of an entirely different cloth. The fact remains that these gentlemen sell consumer goods, not an art form.
Everyone sees drama from his own perspective. My father was killed by a German mine, while I lost other relatives in Allied bombing attacks. The Second World War claimed tens of millions of victims. For some the most terrible aspect of it was the deportations, while for others it was the leveling bombings or the mass deaths by starvation and cold.
I don't want to compare myself to him - I don't want people to see me as this great genius - but when I see Charlie Chaplin's movies there is a combination of drama, naivety and social meaning that I can see in myself, at a different level.
The drama of light exists not only in what is in the light, but also in what is left dark. If the light is everywhere, the drama is gone.
The more light you have in an image, the less drama you get. The details start taking over; the mystery is all gone.
I don't remember a drama on TV that had shown a couple could be married but still love each other very much, spend every day as if they were still on their honeymoon, be sensuous, and have fun together.
Everything we are is anchored in our childhoods. The drama comes in how we deal with it. Are we slaves to our past, or can we rise above it? This is the stuff of great stories.
I am a successful lecturer in physics for popular audiences. The real entertainment gimmick is the excitement, drama and mystery of the subject matter. People love to learn something, they are 'entertained' enormously by being allowed to understand a little bit of something they never understood before. One must have faith in the subject and in people's interest in it.
Every civilization sees itself as the center of the world and writes its history as the central drama of human history.
Can you feel that there is something in you that is at war, something that feels threatened and wants to survive at all cost, that needs the drama in order to assert its identity as the victorious character within that theatrical production? Can you feel there is something in you that would rather be right than at peace?
The way I would describe a pictorial is that it is a picture that makes everybody say ‘Aaaaah,’ with five vowels when they see it. It is something you would like to hang on the wall. The french word ‘photogenique’ defines it better than anything in English. It is a picture which must have quality, drama, and it must, in addition, be as good technically as you can possible make it.
The drama of the essay is the way the public life intersects with my personal and private life. It's in that intersection that I find the energy of the essay.
The idea was to focus on the primal drama of parenthood: the way from moment to moment you swing from comforter to tormentor, just as kids simultaneously light up our lives and drive us nuts. I was trying to capture that strange, bipolar quality of parenthood. For all that being a parent is normal statistically, it's not normal psychologically. It produces some of the most extreme emotions you'll ever have.
If there is no point in the universe that we discover by the methods of science, there is a point that we can give the universe by the way we live, by loving each other, by discovering things about nature, by creating works of art. And that — in a way, although we are not the stars in a cosmic drama, if the only drama we're starring in is one that we are making up as we go along, it is not entirely ignoble that faced with this unloving, impersonal universe we make a little island of warmth and love and science and art for ourselves. That's not an entirely despicable role for us to play.
I had never intended to be on the show more than three years, regardless of how successful it was. I had other things I wanted to do. And I was offered a role in 'Red Sky at Morning', [1970]. I got that part because [producer] Hal Wallis had seen the HERE'S LUCY show with Ann-Margaret. It was a thrill for me, getting to do the drama and comedy. It was such a good role. So I missed several episodes of the show to shoot the movie. And I never came back but one.
Theater used to be a verb; it used to be an act. But nowadays it is just a noun. It is a place.
Drama is like a dream, it is not real, but it is really felt.
If I'm winning, I have to act like I'm not bored. If it's A tough match, I have to act like I'm having A good time. I'm a drama queen.
The real drama of life is never centerstage. It's always in the wings.
Everything in life is theater.
When you make a movie, everyone should leave their own personal problems at home. When they start bringing those to set, filming can be very difficult... You don't need any extra drama. Put the drama into the story, in the characters.
You can say things in a comedy that you never can say in a drama.
So the result was that as one approached a political convention for most of the 19th century and for most of the 20th century until the 1960's, part of the drama was the fact that you didn't know ultimately who was going to be the nominee at the end of that convention week.
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