I actually find in America, there's a slight snobbery about actors who go back and forth between big heavy dramas and popcorn fare. That always intrigues me, because that doesn't exist in the same way in Britain. And I imagine it would be worse. In terms of the sort of class, and the sort of snobby, slightly on the back-foot thing Britain has. But it's much more prevalent in America. I'm really intrigued by it. I don't know why that is. But I'm aiming to break down those barriers by being in a Shakespeare film and a Smurfs film within six months of each other.
Drama, instead of telling us the whole of a man's life, must place him in such a situation, tie such a knot, that when it is untied, the whole man is visible.
Only in the problem play is there any real drama, because drama is no mere setting up of the camera to nature: it is the presentation in parable of the conflict between Man's will and his environment: in a word, of problem.
Do you see that kitten chasing so prettily her own tail? If you could look with her eyes, you might see her surrounded with hundreds of figures performing complex dramas, with tragic and comic issues, long conversations, many characters, many ups and downs of fate.
What's interesting to me is drama and conflict. Things aren't interesting without conflict and resolution of conflict - or striving towards a resolutions of conflict.
Winter is on my head, but eternal spring is in my heart. The nearer I approach the end, the plainer I hear around me the immortal symphonies of the worlds which invite me. . . . For half a century I have been writing thoughts in prose, verse, history, drama, romance, tradition, satire, ode, and song. I have tried them all, but I feel I have not said a thousandth part of that which is within me. When I go down to the grave, I can say "I have finished my day's work," but I cannot say "I have finished my life's work."
When I say that I can write nothing but weird fiction, I am not trying to exalt that medium but am merely confessing my own weakness. The reason I can't write other kinds is not that I don't value & respect them, but merely that my slender set of endowments does not enable me to extract a compellingly acute personal sense of interest & drama from the natural phenomena of life.
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.
Drama is the most difficult of all arts. In it two things are to be satisfied - first, the ears, and second, the eyes. To paint a scene, if one thing be painted, it is easy enough; but to paint different things and yet to keep up the central interest is very difficult. Another difficult thing is stage - management, that is, combining different things in such a manner as to keep the central interest intact.
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 is complete poetry. The ode and the epic contain it only in germ; it contains both of them in a state of high development, and epitomizes both.