Ruin, weariness, death, perpetually death, stand grimly to confront the other presence of Elizabethan drama which is life: life compact of frigates, fir trees and ivory, of dolphins and the juice of July flowers, of the milk of unicorns and panthers’ breath, of ropes of pearl, brains of peacocks and Cretan wine.
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.
I'm just looking to make good movies and looking to be as good as I can be in them and that's about it. But I feel much more comfortable doing a comedy, but the fact that I got to try a few dramas, I feel I've tested myself a little bit.
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.
Primitive times are lyrical, ancient times epical, modern times dramatic. The ode sings of eternity, the epic imparts solemnity tohistory, the drama depicts life. The characteristic of the first poetry is ingeniousness, of the second, simplicity, of the third, truth.
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.
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.
Sometimes, one gesture comprises an entire drama, the accent of one word ruins an entire existence, and the indifference of one glance kills the happiest passion.