Most Hindi movies tend to dramatise events. They are very dialogue heavy. Characters don't speak like people normally do in real life.
I've kind of always had this balance between genre and personal dramas. It almost feels like the two help each other. If I was just to make a genre film, maybe it would be hollow and soulless. If I was just to make a personal drama, maybe it would be melodramatic and nobody would ever go see it.
I always hated 'O Holy Night.' It's so operatic and overwrought.
Sentimental is not bad, but it's probably the most likely to go awry. It's the hardest to do and not have it end up being 'Forrest Gump' or something. Maudlin - I just don't want it to be maudlin.
I always thought when I was doing more melodramatic stuff like Everwood that the directors were constantly reeling me in and stopping me from being funny. I've always tried to find a funny angle on things, and 99 percent of the time, it just doesn't work.
I'm fairly dramatic.
I didn't even know a heart could beat so loudly...it reminds me of an Edgar Allen Poe story we had to read in one of our...classes...it's supposed to be a story about guilt and the dangers of civil disobedience, but when I first read it I thought it seemed kind of lame and melodramatic. Now I get it, though. Poe must have snuck out a lot when he was young.
C’est moi, c’est moi,’tis I,' I told him. It seemed appropriately melodramatic, though I didn’t know if he’d catch the reference. I shouldn’t have worried. Unexpectedly, he laughed. “Trust you to quote Lancelot rather than Guinevere.
I exaggerated even before I began to exaggerate, because it's true — nothing is ever quite as bad as it could be.
