I know I can handle dramatic roles, but I don't think I should have to play a young mother on crack to prove it.
California has a beautiful coastline. It can be a rough coastline. The waves are huge. The rocks are steep. Same thing in Vancouver. It has a beautiful coastline. It's dramatic.
Failure in the theater is more dramatic and uglier than any other form of writing. It costs so much, you feel so guilty.
My passion is doing movies, and as long as I keep doing that, I'll be happy. I want to do movies, fun roles and dramatic ones. I love all of it.
At dramatic rehearsals, the only author that's better than an absent one is a dead one.
To be a dramatic writer takes hard work, talent, and discipline. And that's why I just make up crap.
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
I think all phases of one's career are serious if you take it seriously no matter if you are doing high profile dramatic pieces or not.
After I got to Hollywood, I resented that I didn't get a crack at more dramatic roles because I photographed so beautifully.
The most anxious time was during launch, just because that is so dramatic.
I am not trying to be a historian and a dramatist; I'm a dramatist, a dramatic historian, or one who does a dramatic interpretation of history.
Dramatic experience is not logical; it may be subdued to the kind of coherence that we indicate when we speak, in criticism, of form.
In a very complex way, things have improved in the dramatic field. Before you had the good and the bad and you couldn't mingle them. Now it's more ambiguous.
And I found both literature and the church very dramatic presences in the world of the 1950s.
It was such a dramatic escalator that I was on. It was at 90 degrees. I was going straight up like a rocket ship into space. And I was thrown in with the sharks. They said sink or swim in this Cup deal.
I like stories with a collision of disparate tones. Look at 'Shameless' or 'House of Lies'. They go from big, silly, and comedic to very real dramatic moments in the wink of an eye.
I think we get on with living our lives like everybody else does. Where we're at in music is trying to explain what's going around us either directly or by analogy and trying to create a parallel, an analog, sometimes musical, sometimes dramatic, that might be truthful.
We're dealing with such enormous problems today that we have no other choice but to work together. If Iraq fails, if a religious civil war breaks out and the neighboring states are drawn into this conflict, if the Kurds declare independence and al-Qaida takes over an entire province - that's when the consequences will be dramatic.
It can be kind of gruesome at times, making things alone. I don't want to be too dramatic, but it's hard. It's necessary to start most work alone.
To our real, naked selves there is not a thing on earth or in heaven worth dying for. It is only when we see ourselves as actors in a staged (and therefore unreal) performance that death loses its frightfulness and finality and becomes an act of make-believe and a theatrical gesture. It is one of the main tasks of a real leader to mask the grim reality of dying and killing by evoking in his followers the illusion that they are participating in a grandiose spectacle, a solemn or lighthearted dramatic performance.
The good thing about 'Weeds' now is, I get to play some dramatic parts in that as well.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.
I directed and produced Conviction, a movie about a man who spent 18 years in prison for a crime he didn't commit. I got to know Innocence Project co-founder Barry Scheck very well - he's a character in the movie - and I got very passionate about the cause. It's just so inherently dramatic.
The only moment football really stops is with a penalty kick - and that is a moment that is really dramatic. A penalty kick becomes a Western duel. It's two guys facing each other. Destiny and potential death, whether metaphorical or literal. That's why in the penalty kick at the end of the film, I shot it like an homage to the Sergio Leone Westerns I saw when I was a kid, especially The Good, The Bad And The Ugly.
After The Bomb we developed a fairly good system for moving food around and have avoided the kind of massive famines that attract the media. Although of course we've had a fair number of them, particularly in Africa, since The Bomb was written. But we have had a steady level of attrition of malnutrition and malnutrition-related disease. Probably something on the order of 5 to 10 million people starve to death each year, but they're spread out; they're not dramatic news events.
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