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.
I feel like a lot of my past career was going to film school, making a lot of different kinds of movies. I made a bunch of comedies, I made one drama and I made a couple musicals.
A third variety of drama ... begins as tragedy with scraps of fun in it ... and ends in comedy without mirth in it, the place of mirth being taken by a more or less bitter and critical irony.
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 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.