Ice Cube Quotes

When you make drama you are like Picasso. Drama is whatever you want it to be.

I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.

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.

I like a drama. And I think that's the basis of good films, or good plays, is to have a nice drama.

As a writer, I haven't delved into dramatic writing. As an actor, I could always, even more so than comedy, do drama.

I think the writers give us different people to work with, different situation scenarios to be in and there's always that fun balance of, you know, trying to keep it light and, you know, light-hearted and put in the comedy while trying to make it into drama.

As a writer, I haven't delved into dramatic writing. As an actor, I could always, even more so than comedy, do drama. When you do your comedy and your drama, your acting style doesn't change. If it's a comedy, the situations and the characters might be a little funnier, but you're just trying to be honest.

I can only do it if there's humour, wit, comedy and drama. If you can get audiences laughing and then suddenly turn them to tears... it's a weird way of making a living making people cry, but I think it's very exciting to be able to send audiences on a rollercoaster ride.

People want the tragedy. They need things to go wrong, they need the tension. In my characters there’s a core of trust and love that I’m very committed to. These guys would die for each other, and it’s very beautiful. But at the same time, you can’t keep that safety. Things have to go wrong, bad things have to happen.

I'd rather make a show 100 people need to see, than a show that 1000 people want to see.

Drama - what literature does at night.

I'm glad that people have responded well to it, so far. I'm thankful for that. But, I'm also excited now that I have a better grasp of this character than I did before. I want to take it even further and really explore who Glenn is.

The important thing in acting is to be able to laugh and cry. If I have to laugh, I think of my sex life. If I have to cry, I think of my sex life.

I know people think that acting is not quite the occupation of grown-ups, but it is actually the ultimate learning process: You get a multitude of experiences, all for the price of one life.

One of the things that's funniest about the entertainment industry and comedy is that people go 'Oh, you're great, but I don't know what to do with you.' The great thing about the Internet is that nobody has to figure out what to do with you. You can figure out what to do with you, and you can say, 'I made this thing, and I'm going to put it out, and now if people want to come see me and buy things from me they can.'

I would like to say something deeper, but for me, I saw a production of "Fences" in Rhode Island and a fabulous actress played Rose, but when she first came on the stage she was mad. You could just see it. She was all, "Troy stop!" So by the time you get to the revelation scene, I didn't think she loved him, so there was no loss. I think that the real tragedy and the real drama or the thing that makes you lean in is to see the love, to see the commitment. To see the fact that Rose is invested in this marriage no matter what.

Drama is exposure; it is confrontation; it is contradiction and it leads to analysis, construction, recognition and eventually to an awakening of understanding.

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.

If what you want to paint is the emotive mood in all its strength... then you must not sit and stare at everything and depict it exactly as one sees it.

I think there are three types of actors. There are the ones that do the ego thing, which is "I'm never going to look bad in a movie, ever." This is mostly the action film dudes, like, "Nah, hell no. He ain't punchin' me! I'd whoop his ass!" Then you've got the activist type who bases their decisions in the development of a character on what it symbolizes to society - what the ethical code is. And then the third type is a true thespian who doesn't give a flying rat's ass what it is as long as it's deep, powerful, and painful, and they will dive in headfirst. I really respect those people.

Dramatic. A well developed sense of the dramatic has values beyond what people usually imagine. One of these is to realise the limitations of a sense of the dramatic.

I have always wanted to do a book about actors because I think that the death of a character is a tremendously emotional experience.

Sometimes people that are very good at improvisation in life, meaning like stage improvisation, aren't good in films because you have to ultimately take a scene where it needs to go. It's not about just saying something that's funny. You can say something funny but if it's not on story or driving the scene to its end it's really not very helpful at all.

I wonder whether my bleak-o-meter is set differently from other people's. I have such passion for what I do that I can't see it as bleak. When people use that word, or “grim” or “gritty,” I just think, “Oh, come on, look a bit deeper.” My films don't give you an easy ride. I can see that. The sense I get is that people have quite a physical experience with them. They feel afterwards that they've really been through something.

Being an actor opened doors for me to explore my emotions as different people and characters, and expand my own inner soul.