Jason Dohring Quotes

I love films that make you feel something but also deliver that payload behind jokes.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

Once we got over the origin story, we could really delve deeper into their lives and characters and angst. So this movie actually has more heart, more humor.

I am not interested in entertaining people. I think being an actor provides an opportunity to give people an experience they can connect to, reflect on, learn from, laugh at.

It is the job of the novelist to touch the reader.

In a comedy, after the day is done, you can figure out ways of how to make it even funnier for the next day. In dramas, it's very different - the mindset that you're in.

I had a strong vision for 'The Best Man Holiday,' so I was able to translate that to the actors and ultimately to the screen. Things can't get too heavy or too outrageously funny; it has to strike a balance. Tone is everything. If you've set the right tone, you can get away with a lot of stuff. You can get away with making people cry.

I try to give all my characters a sense of humor, so I guess I feel like I have done comedy, but maybe I'm better known for drama.

I wasn't interested in novelty. I was looking for good drama.

You can channel a lot within a comic framework, and I think 'The Guard' had a lot going on outside of the comedy, which is satisfying.

To be perfectly honest, drama is a lot simpler than comedy.

To write convincingly, I think you must be able to relate, in some way, to what a character is experiencing.

If a reader comes across a story that makes them cry, you can be sure that the writer felt every single thing that makes the reader cry.

I always put myself in the audience's seat, whether it is a film like 'Judwaa 2' or 'Badlapur.' There has to be a message; the core story needs to have a hook, which should be out of the ordinary.

We figured the audience would want good stories, great art, wonderful characters, people you could fall in love with that we would immediately put through hell.

I tell you a joke to have you listen to me, and then maybe I will tell you another joke that we can laugh together and feel equal. And then I will tell you a story hopefully that will make you cry. So I think that's the way that I approach the columns, as a surviving tool in a way.

Gertrude's Secret' is highly entertaining. Some of the monologues are very funny, some very surprising and some painful.

Wrestling and sports entertainment is not about the moves, it really isn't. It's about being able to evoke emotion in one facet or another.

Whatever films I make, the mandate is that it should touch the audiences and engage them from the first scene.

Dramas are incredibly compelling. I feel like 'Silver Linings Playbook' is a drama, but because it's funny, people market it as a comedy.

When I shoot a film, I take my camera and put it among the characters and let it show you their world, their problems, their happiness and the little things that matter to them.

There's so many great wrestlers in this sport who could probably work circles around me and it's amazing to see that, but I love being the kind of character who can take you on a roller coaster, make you smile and laugh.

Comedy and drama are different sides of the same coin. And the thing about comedy and drama is about likability. It's about character first. It's about story. And for me, it's about empathy, and I think the realer someone is, the further you can go either way with them.

You have to have empathy, knowledge and compassion for your characters if you're a writer.

Well, for people who want to write best sellers, the best advice I can give is to say that the novel has to engage the reader emotionally.