I want to continue doing as big a variety of things as I can do, and if that means I have the honor of getting to do more feature work, I would love that. I know that if I make any other long-term TV commitments, it's not going to be on a drama.
The popular definition of tragedy is heavy drama in which everyone is killed in the last act, comedy being light drama in which everyone is married in the last act.
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.
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.
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.
On the Greek stage a drama, or acted story, consisted in reality of three dramas, called together a trilogy, and performed consecutively in the course of one day.
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.
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.