The one thing that makes 'Torchwood' work so brilliantly and makes it a little bit above the rest of all other sci-fi dramas out there is that we have a sense of humour.
It wasn't until I got involved in Doctor Who that I started doing dramas on television.
I have never understood people dividing things into dramas and comedies.
I have been working since I was 11 on everything including period dramas.
My roles don't centre around drugs at all! Shadiness is different - it's drama. We're making movies! You've gotta have conflict.
Conflict is drama, and how people deal with conflict shows you the kind of people they are.
I started performing at school and drama classes when I was 7.
Whether it's a good thing or a bad thing, the higher your profile, the more castable you are in TV dramas.
Drama sells more than the truth.
For me, hour-long drama was always the thing I felt the most comfortable doing, and I've played so many dramatic roles in the theater.
I would love to do a serious period drama. Oh, absolutely. I mean, you'll find most comedians want to do more serious stuff, most musicians want to be comedians, and most serious actors want to be musicians.
"Transparent" is a drama slash comedy series that could, in theory, make the Emmy nominations next year in either of those categories - it's that good.
Downton Abbey is the most popular drama in the history of public television. When the whole of the TV universe is fragmenting, that isn't just impressive. It's almost impossible. But here we are.
English dramatic literature is, of course, dominated by Shakespeare; and it is almost inevitable that an English reader should measure the value of other poetic drama by the standards which Shakespeare has already implanted in his mind.
Any long work in which poetry is persistent, be it epic or drama or narrative, is really a succession of separate poetic experiences governed into a related whole by an energy distinct from that which evoked them.
That grand drama in a hundred acts, which is reserved for the next two centuries of Europe-the most terrible, most questionable and perhaps also the most hopeful of all dramas.
Whence had they come The hand and lash that beat down frigid Rome? What sacred drama through her body heaved When world-transforming Charlemagne was conceived?
The drama of AIDS threatens not just some nations or societies, but the whole of humanity. It knows no frontiers of geography, race, age or social condition(calling) for a supreme effort of international cooperation on the part of government, the world medical and scientific community and all those who exercise influence in developing a sense of more responsibility in society.
In terms of my own film experience, I'm definitely used to morose and very heavy, heavy dramas.
When you're young you have no worries, no drama, only your imagination. It's the best!
I like to see love stories: romantic comedy or romantic drama.
Drama made me happy. Being on stage made me feel alive. But I did what a lot of people do, and that's follow this path of leaving school and going to university. It was only at university that I realised the only thing that would make me a satisfied man was to do what I loved.
If my dramatic career doesn't work out, I will go on to research and find cures for Alzheimer's or Parkinson's and other motor neuron diseases. It's a very exciting field of research. But I'd like to continue in drama, so it wouldn't be very smart of me if I blew this amazing opportunity with an inappropriate lifestyle.
At best, the relationship between drama critic and playwright is a pretty twiggy affair. When I'm asked whom I write for, after the obligatory, I write only for myself, I realize that I have an imaginary circle of peers - writers and respected or savvy theatre folk, some dramatic writers and some not, some living, some long gone. . . . Often a writer is aware as he works that a certain critic is going to hate this one. . . . You don't let what a critic might say worry you or alter your work; it might even add a spark to the gleeful process of creation.
The culturally specific, in particular, the American porch play that American writers have cherished and loved for many years in terms of their new writing, has seemed to have very little relevance to a much more fast-flowing, abstract, experimental drama that has been emerging in [the UK]. The porch play, not to mention that thing of, Oops, I wasn't loved enough by my father, somehow didn't have the relevance in this country.
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