I think that ultimately any effective drama or tragedy tries to put you as much as it can into the protagonist's shoes.
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It's always appealing to play a character that has to overcome himself as well as an obstacle. It makes the drama so much deeper.
I think that I am interested in the resonance between character drama and high stakes, either situational or political or social or other kind of elevated drama, and I tend to find that those things combust.
Plot, rules, nor even poetry, are not half so great beauties in tragedy or comedy as a just imitation of nature, of character, of the passions and their operations in diversified situations.
Tragedy is a great storytelling form. It worked extremely well for Shakespeare. It worked extremely well for Jim Cameron with 'Titanic.'
The tragic element of a character is always intriguing I think.
I tend to foster drama via bleakness. If I want the reader to feel sympathy for a character, I cleave the character in half, on his birthday. And then it starts raining. And he's made of sugar.
I think situations are more important than plot and character.
When the drama attains a characterization which makes the play a revelation of human conduct and a dialogue which characterizes yet pleases for itself, we reach dramatic literature.
The rules of drama are very much separate from the properties of life. I think that's especially true of Shakespeare.
I think for some reason we're conditioned in movies that the protagonist must be heroic or redeemable in some way, whereas in theater, that's not a necessary.
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