There is no such thing as a Flower Police, so please feel free to experiment. Or stick with one type of flower; for instance, do bunches of white tulips or a mix of flowers that are all yellow in color. Just because it's simple doesn't mean it can't be dramatic!
Maybe I just stay in relationships for too long and then they get really dramatic.
We don't ruminate during a fight. Maybe in a bath, or driving a car, or as we take a walk. But not right smack in the middle of a dramatic moment.
On a micro level, if we're not terribly lucky, this sort of thing can happen to us quite frequently - the political becoming the personal in dramatic and irreparable ways. I remember the first time I went out into the desert, passing by all these mine fields and getting the history on them from my guide and realizing all these murderous mechanisms were real, were just sitting out there waiting for a victim, and some of them had been for sixty, seventy, eighty years.
Lynching is an important aspect of racial history and racial inequality in America, because it was visible, it was so public, it was so dramatic, and it was so violent.
I talk about my grandmother a lot, because she's an amazing person - not in some dramatic, distinct, unique way, but anybody who is the daughter of enslaved people and who has found a way to be hopeful and create love and value justice and seek peace is a remarkable person.
When I'm editing, I try to bring out some dramatic structure. I think it is about theater in some way; it is a little play.
We live in a material world, not a dramatic one.
Again, it does seem like frustration is mounting in interesting ways, but I'm not sure there will be some dramatic tipping point. Then again, looking back on the history of television, you never know. People had to fight and articulate the politics and the rationale for different funding mechanisms. That was a long and drawn-out battle fought in different countries; it's not like BBC and the CBC in Canada just magically appeared out of the ether. People had to organize for it. I'm always willing to be surprised.
Theatre aside, my penchant for the extended monologue began with my reading of Browning's dramatic monologues, in high school. My inclination to adopt the form for prose was confirmed by Richard Howard's book of dramatic monologues, Untitled Subjects.
As a practical matter, I like the dramatic monologue for its compelling intimacy. To be inside one's character, to register his or her every vagrant thought, emotion, and response - the first-person viewpoint grants this privilege and immediacy.
I do seem to favor a deathbed confession as the occasion for my dramatic monologues.
With the historical fictions, I was already doing so much research, and so much of the stories was anchored by historical truth that the move to nonfiction didn't feel all that dramatic - just another half-step to the right.
We're all impostors to ourselves. By that I mean that we know instinctively, intimately, the difference between whom we are inside and who we appear to be to others. Most of the time - when we aren't flat lying about something or playing a particularly stylized role in some heightened dramatic situation - this difference between the internal and the external is modest and manageable.
I think a lot of Civil War stuff is written - As they say, history is written by the victors. And one of the things that I think is fascinating about this from a purely dramatic perspective is whether someone is right or wrong, you understand where they're coming from in this.
I have many enemies and they all think I'm being highfalutin calling it performance, but the word "reading" has a connotation of something academic with the lights on and you're going to get a lecture. I'm looking to blow my audiences away by giving a fine, dramatic performance and reminding them of why they love stories.
Silver rights aren't as dramatic and captivating as civil rights. The movement isn't good TV and it's boring or inaccessible to many people. The forums were created to spread awareness, dialogue, and community to forge new partnerships and ideas.
I've always wanted to do all kinds of roles, dramatic roles and comedic roles, all kinds of roles.
As someone who played music and never got famous, and remembers little fragments of that, I don't remember life as a dramatic flamboyant thing.
I just wanted a really simple, dramatic way so that fans, people who were reading my comic, would be like, "This is something different." Just to flag it, almost.
I happen to like things that are funny and dramatic at the same time. I don't see the difference.
I don't know if you hear this often but I would say The Razor's Edge (loosely based on a great W. Somerset Maugham novel). This was Bill Murray's first dramatic role so everyone thought he stunk in this deep character but I thought he and the movie were great. The movie takes place over decades so you see Murray's character go from goofy playboy all the way to wiser, older person. It's basically a movie version of the journey I described.
Exposing something that's painful or raw or not so pleasant. That seems to be the dramatic motor of documentaries, exposure.
I am very suspicious of cameras and dramatic interpretations and the whole Hollywood myth-making process. I don't trust it. I've seen it affect people in bad ways.
We can't see ahead of time what actions are going to be the ones that move history in dramatic ways.
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