Radio Drama Quotes

All the arts, to varying degrees, involve some kind of a compromise. This being so, how far need the radio dramatist go to meet the public without losing sight of himself and his own standards of value?

Nothing beats an 'Archers' fan for their levels of devotion. I think it's because it's radio, and you obviously conjure up an image of the character that is so powerful.

Radio dramas have disappeared. What we do have now is books on tape, which I find wonderful. I've done some of those. Otherwise, radio acting is now gone.

I used to listen to the soap operas with my grandmother.

I'm completely addicted to Radio 4, even 100-year-old things like 'Just a Minute.' I even arrange my weekends around the Sunday edition of 'The Archers.'

When I was a boy, I had a grand, big tape recorder, and I made late-night radio shows with glasses of water and funny voices. I just loved radio plays.

I did radio back in the era when we did radio drama.

As an actor I kind of do. I started out doing voice overs in the mid 80s when I was in grad school.

Look at 'Marienbad' honestly. What is it? It is just another talking radio show with pictures. Nobody acts. People stand around while the author talks about the woodwork.

I'm sure that everything you do contributes to the sort of novel that you write. A lot of actors have an understanding of drama and a good ear for dialogue and also the rhythm of speech. Similarly, my 16 years in radio drama has influenced me. You only have 45 minutes, or 7,000 words, to tell a story, so every scene has to have a point.

I love doing the radio plays, creating a whole world with just the voice, and I'd love to be back on stage, too, at some point.

Who has ever stopped to think of the divinity of Lamont Cranston?

The opening solo on 'Once in Royal David's City' is still the most dramatic radio moment of the year.

I was a child actor in radio, and there's not many of us left.

Of everything I have done, 'The Archers' always gets the most excitement; there's a sort of uncontrollable joy from fans of the program.

I've done a show at the Largo Theater called The 'Thrilling Adventure Hour.' We read, like, radio teleplays. It's a send-up of radio dramas from the '30s and '40s. We just did a Kickstarter for that so that we can do a web series and a concert film.

I was a kid, and I remember my mother singing. She was also a radio soap opera actress, but my mother sang.

As a young actor, I would be invited to the CBC radio drama department to do voices for different characters, and I found that I could do quite a few of them. I wasn't a visual presence, and I found it easier to construct a voice from the written page.

I'm playing an Amazon warrior princess in a new radio comedy series called 'Elvenquest,' and I'm playing a Russian genius in the comeback of 'Red Dwarf.'

Every weekend he'd have me come down to work on Dragnet, which by now was on television as well as radio.

When I was a kid, I used to sneak down the stairs when my folks were listening to 'The Witch's Tale' and 'Inner Sanctum' on the radio. I went to see 'Frankenstein' in the movie theater and got the pants scared off of me.

I think good radio often uses the techniques of fiction: characters, scenes, a big urgent emotional question. And as in the best fiction, tone counts for a lot. But a lot of effective and interesting radio is based on one character who reacts to the world.

I started radio in 1950 on the Lone Ranger radio program, a dramatic show that emanated from Detroit when I was 18 years old and just beginning college. I did that for a couple of years.

I got into radio when I was eight, and I was one of the busiest child dramatic actors in America.

I grew up in the age of radio. That was my main boyhood form of entertainment: lying on the living room floor with my ears affixed to the radio. I loved shows like 'The Phantom,' 'Cisco Kid,' and even 'Happy Theater' when I was younger.