Quotes of All Topics . Occasions . Authors
I'm supposed to be the guy who hates naturalism.
I'm not interested in putting naturalism on stage - I want passion.
I love faces that have freckles. I love faces that have wrinkles. For me, beauty is naturalism, I guess.
Nature rarely does anything mathematically perfect, and naturalism results from imperfections and deviations.
I love acting, especially if it's a fantasy of some kind, where it's not just realistic, it's not naturalism.
When the vision of the 'Nude' flashed upon me, I knew that it would break forever the enslaving chains of Naturalism.
The question of naturalism is a fallacy, it does not exist... The photographic image replaces naturalistic experience.
Obviously we know Bill Hader is funny and charming, but my question is, can he do raw humanity and naturalism? I think so.
Naturalism teaches one of the most important things in this world. There is only this life, so live wonderfully and meaningfully.
We have fallen into this very mean description of humanity. Naturalism in fiction is too reductive in its definition of human beings.
There's some actors that go easily between drama and comedy because they play the naturalism of the role, and they just have natural timing.
I love my early movies, but naturalism is an artist's early style. Now I want to deal with feelings, dreams, an acceptance of irrationality.
We've all been influenced by American naturalism, and to ignore that entirely would be impossible for me as someone who works primarily in film.
I think of being ornate as a Victorian quality, little to do with Shakespeare. But even Dickens wasn't ornate; he wrote with flow and naturalism.
In particular, what I loved about 'Creep' and 'The One I Love' was the combination of naturalism, horror, and comedy that felt kind of new and fun.
I always considered Ray Harryhausen's work so fine that it was way out of my league: in terms of realism and naturalism, in terms of animal movement.
I am really not of the school of naturalism. I like style, and you can use more style in theater than in film roles. I love to sink my teeth into a part.
For my money, when you're doing an on-camera performance, unless it's for something particularly stylised, you are, by and large, striving for naturalism.
American naturalism is what my indulgent actor side loves: a bit of Tennessee Williams, a bit of Clifford Odets, August Wilson - I would just love to tackle some of that.
The second advantage claimed for naturalism is that it is equivalent to rationality, because it assumes a model of reality in which all events are in principle accessible to scientific investigation.
Anyone who has set out to invent a purely imaginary story knows that the whole thing is fantasy, from beginning to end; there must be a sense of magic created about the most restrained of naturalism.
Naturalism aimed at giving the primitive wishes full play but failed because these wishes are too primitive, too infantile, too inconsistent with themselves to be satisfied even by the greatest license.
Everyone says comedy is really hard, but with 'The Office' the naturalism was everything so it didn't feel like doing comedy; it just felt like doing a really offensive character who thought he was funny.
Evolutionary naturalism takes the inherent limitations of science and turns them into a devastating philosophical weapon: because science is our only real way of knowing anything, what science cannot know cannot be real.
I always suspend logic for emotion. If it feels real, or it feels like what I'm going for, we should abandon reality a little bit and go for that. I'm not a documentarian. We're not trying to shoot things for naturalism.
Peter Morgan's writing is so much about what you don't say: you're saying one thing but there's 10 other things going on, and those are the best writers like Chekhov... they're masters at a sort of naturalism, and yet there is all the subtext.
Visit a typical science classroom and you will discover far more than empirical facts being taught. The dominant worldview among scientific intellectuals is evolutionary naturalism, which holds that humans are essentially biochemical machines.
I don't bill myself as an atheist but as a naturalist. Naturalism is a belief system. A lot of scientists bristle at that. We all have to believe we can find the truth. Evidence is my guide. I rely on observation, experimentation and verification.
Naturalism says that we were not put here for any purpose. But that doesn't mean there isn't such thing as purpose. It just means that purpose isn't imposed from outside. We human beings have the creative ability to give our lives purposes and meanings.
'Batman Begins' came out and it was really successful, and it had gritty naturalism. And suddenly... I can't tell you how many movies I was pitched where it was, 'We want to do what you did with 'Batman' but with 'Teenage Mutant Ninja Turtles,' or whatever.
If modernist naturalism were true, there would be no objective truth outside of science. In that case right and wrong would be a matter of cultural preference, or political power, and the power already available to modernists ideologies would be overwhelming.
I think I like about coming-of-age stories is that there's everything in them. It's a genre that kind of contains everything: you have the chronicle, you can go into naturalism, but it's also about transforming physically, so it's kind of a fantastical genre.
Another important historical factor is the fact that this already very simple religion was further simplified and purified by the early philosophers of ancient China. Our first great philosopher was a founder of naturalism; and our second great philosopher was an agnostic.
I like a naturalism to my dialogue and my comedy. I would rather have a few jokes sail by that might be more subtle than have every single joke hit hard. I would rather the comedy come out of character as opposed to feeling forced. Even if you're giving some laughs up for it.
I'm not sure that Liberation Theology has ever satisfactorily resolved the tensions between Marxism's 'social naturalism' (the claim that all beliefs have their origins in social practice) and religion's supernaturalism (the claims that its beliefs are underwritten by divine will).
I don't understand why people don't use improvisation, especially in comedy films, but also, for me, you get more naturalism, and that's why I like the naturalistic performances and strange rhythms and the way that people genuinely interact captured rather than sort of very mannered performances.
Maybe directors who are more interested in realism and naturalism come from cities, where they see things on their doorstep every day. But growing up as a kid in a very pretty but ever-so-slightly boring town, where not a great deal happened, encouraged me to be more escapist, more imaginative, and more of a daydreamer.
I'm not attracted to naturalism, I'm not attracted to behavior, I'm attracted to dance. I'm attracted to gesture, I'm attracted to singing with your voice, as opposed to having a natural manner. I'm a theater actor first, so that probably influences a lot of my approach. And I think in many ways, naturalism has ruined movies.
I was born in Paris in the mid-1960s, and by the time I was 12 I had started going to the movies by myself. Most of the movies of that period never appealed to me. I didn't like the 'naturalism,' the sad or the 'down-to-earth' characters. What I wanted from film was fantasy, dreams, funny situations, extravagant decor - and beautiful women.
We had so many firsts on 'Coraline' that I couldn't quite see where we'd go from there, but for 'ParaNorman' we developed this 'skewed naturalism' that marries a lot of intricate detail with a more cinematic approach, then just built on all that and pushed those techniques even further, so we can tell our stories that much more effectively.
We've turned film into such an industry that we pursue naturalism just by shaking the camera and cutting the film to ribbons to provoke a bogus sense of documentary. But we haven't done the homework. To push the depth that the Actor's Studio did or the Russian theatres did with their actors is to rehearse, to spend time, to dig, to excavate.