I think great romance needs great obstacles and textures.
It's a play where something went wrong, 'Cause it's five hours, twelve minutes long. If you sit there, my friend, From beginning 'til end, Then your bladder better be strong!
You go to movies to see people you love suffer - that's why you go to the movies. You don't go to see a movie about a guy who already knows he has a wonderful life.
Any claim to actual identification as a drama must rest upon the construction of a plot independent of the assignment of affliction to the protagonist.
Plot and melodrama were in every life; in some so briefly as hardly to be recognized, in others-in that of certain men and women in the public eye, for instance-they were almost in the nature of a continuous performance.
I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.
Some of the stuff I get the scripts for, I read it and I'm like, "Wow." We're doing some crazy stuff on this show [Legends of Tommorow]. it's going to be amazing.
Very few people run around and get amnesia and have comas and come out of them and do all the silly of people have strokes and have comas and come out of them and do all the silly things we do on soaps.
Shakespeare wrote great poetry and preposterous plays. Who really cares, for example, which petty tyrant rules Milan? Or who succeeds to the throne of Denmark? Or why the barons ganged up on Richard II?
No good opera plot can be sensible, for people do not sing when they are feeling sensible.
I was supposed to be a romancer, either wooing the leading lady or competing with the leading man for her.
In the theatrical works we love and admire the most, the ending of the drama generally takes place offstage.
I want to do character driven epic storylines with Throne of Atlantis kicking off.
