Dramatic Contrast Quotes

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.

You need contrast and conflict in order to tell a story. Stories need to have dark and light, turmoil, all those things. But that does not mean the filmmaker has to suffer in order to show the suffering. Stories should have the suffering, not the people.

Michigan is two radically different places - the North and the South which makes for good drama and contrast.

The NT, compared with the Old, is like a farce of one act.

Contrast is the dramatist's method.

It is as polar opposite as it comes for the man who was Edna Turnblad in 'Hairspray' to come back as Sweeney Todd.

What they frequently want to do with a movie is, they want to cut out the valleys and just show the peaks. And valleys are important; the valleys make the peaks stand out.

If a character is going to end up one way, you start them a certain way. If they're gonna end up the polar opposite of that, you might start them differently to have dramatic integrity to their journey.

Compare the cinema with theatre. Both are dramatic arts. Theatre brings actors before a public and every night during the season they re-enact the same drama. Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.

In a way, a lot of my humor comes from presenting things that are dramatic or shocking and then people not having socially appropriate responses, having people denying the drama by failing to react to it, and that's a really classic form of humor.

The interesting thing about my character Sylar is that my strengths as an actor seemed to go completely against the shape of a character in the shadow.

'Obvious Child,' the short, had a nice life online and a great festival run, but the short and the feature still stand apart from everything else I've done. I play a woman who you might meet in life. My other work is much more heightened.

She wasn't as destructive as Bee. She had never been as dramatic. Rather, she'd slipped carefully, stealthily away from her ghosts.

American radio is the reverse of the Shakespearean stage. In Shakespeare's time the world's greatest dramas were acted with the most primitive technical arrangements; on the American air the world's most primitive writing is performed under perfect technical conditions.

I love the opportunity to use my full range, and so playing in the comedy 'Black-ish' gives me the opportunity to show my lighter side, and playing in this beautiful, elegant horror story of 'Hannibal,' I get to use my darker and more cerebral side. It's really wonderful.

It's the fun part 'cause you don't have any of the real heavy-lifting to do. You just come in and shout and chew scenery, and just be awful and say a few jokes, and you don't have to carry the romantic storyline or the quest part of the story. You just pop up, every now and again.

I don't have a favorite genre. I mean, I always sort of base it on instinct. And it does seem to be that after I finish something that is very dramatic, I end up inevitably wanting to do a comedy or something like that.

Honestly, one of the reasons I wanted to do a comedy next was that I just kept thinking, 'I don't want to chase the next 'Breaking Bad,' because honestly, there may never be one.' I couldn't imagine any other drama comparing. And I just wanted to laugh.

When I cast great actors, I try to make extraordinary people ordinary, dealing with these extremely small intimate details of interpersonal relationships against an epic backdrop.

The idea that the curtain rises on what is often more or less a happy scene, and it will fall just a few hours later, and everyone will be dead or have gone mad... I find that kind of narrative very appealing.

I admit TV is a far cry from the films that I started my career with, like 'Ek Doctor Ki Maut.' It's like reading Chekov and then going on to a comic strip.

Certain shows, when it's all comedy, it's like when you eat something that's too sweet and it just tastes gross. You need that salted caramel.

To keep people interested, your presentation needs to have contrast. As humans we process contrast. We are assessing "what's the same," "what's different," "what's like me," "what's not like me." Humans stay interested if they can process contrast. Varying types of contrast can be used. With content, you can contrast between what is and what could be or between your perspective and alternative perspectives.