J. H. Wyman Quotes

I'd love to star in dark drama that audiences could really relate to.

The 'Lost' pilot was wide enough and included enough things so that when Season Five came, and we spent half of the year in 1973, nobody cried foul. It felt like it was already a part of the DNA.

The scene is never really about moving the story forward on 'Breaking Bad.' That's the functional veneer of the scene, but it's always about what's going on with the characters.

All Shondaland shows have a level of intelligence, a level of humor, a level of pathos and human connection.

I think really good drama comes down to real human emotion. That's what makes us all tick, and that's what I've always been drawn to when it comes to scripts is real human emotion and dealing with that.

Good TV is not about people being happy; it's drama.

I actually think it's going to be the intriguing plot [ in Black Snake Moan] point that brings people into the film.

I know a lot of people who say, "I reluctantly watched the first episode because I don't really like zombies and that stuff, but I was pleasantly surprised by the characters and the drama of it all." I think that's what keeps people coming back and brings new watchers to the show. What the show does is cross many, many different viewerships.

Whatever the drama of the story is, you have to be true to it.

I just want to make sure that the thing that I see in it initially, that I think it can be, is not just going to be a horror film and reduced to a jump here and a scream there. But that you can take something away from it.

How can you sustain life? [Dan] Fogelman is magic, and I think the other scripts of his that I've read for this show specifically are as beautiful as the pilot script [of This Is Us]. And he said it in a meeting [regarding the stillbirth of a child], "You can't kill a baby every week." But I think the idea that you can have these impactful moments that are as heightened as the loss of a child - it's life.

If I really knew how to do good storytelling, I would be a writer. Mystery is not a huge part of it. ... It's tension, it's relationships. I think it's a struggle.

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.

When I'm writing a script, I don't worry about plot as much as I do about people. I get to know the main characters - what they need, what they want, what they should do. That's what gets the story going. You can't just have action, you've got to find out what the characters want. And then they must grow, they must go somewhere.

I love character roles. I'm happier in them. I look for roles that have some kind of complexity.

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

For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.

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

Honestly, one-hour drama is the hardest format there is. I think it's harder than movies, and it's harder than half-hour comedy.

With a film, things constantly have to go up in the story, and you're constantly putting pressure on the main character. It allows to go really deep into what its relationship is.

With 'The Office' and 'Extras' I've always snuck in a little bit of heart and pathos - and drama, which is fun.

You have to believe in the arthouse, if you will - the emotion, the conflict, the who am I, which will always be an unanswered question. If you do it right, you have a smaller drama, and a great movie.

I want to do more drama. Comedy is the path of least resistance for my company. People know we can do them. People know they get a good response. People want to make them. Who am I to push up against that?

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

One of the great things about TV is the story to tell can be very internal and really character-based.