Quotes of All Topics . Occasions . Authors
It's always good to be able to identify with the characters that you're watching and not just easily put them in the bad box or the good box. They're real people that you care about, and you invest in their journey.
All the characters on 'Girls' are growing and changing, which is how real people behave, especially when we're young, trying to figure out who we are, doing things that are the polar opposite of our characteristics.
'The Killing' has a really great combination of qualities: Even though it's very sad and deals with mourning and grief, it's still exciting. It's about real people and it doesn't shy from the painful points of life.
I was a big fan of the show 'Deadwood' on HBO, which was created by David Milch. And as soon as I heard that all of those characters on Deadwood were based on real people, the first thing I did was Google everybody.
When I was a little girl, I grew up in Connecticut. Ed and Lorraine Warren's home was not too far from mine. 'The Conjuring' films are based on them; Ed and Lorraine were real people who made a museum in their home.
Daily life is better when it involves interactions with real people who have a personal investment in their labour, like shopkeepers, than it is with someone 'just doing my job' or the infernal self-checkout machine.
In the real world, as lived and experienced by real people, the demand for human rights and dignity, the longing for liberty and justice and opportunity, the hatred of oppression and corruption and cruelty is reality.
I'm not in the business of meddling with people's destinies - and yes, my characters are real people to me. They have histories and thoughts and yearnings and hurts and misgivings and pleasures that don't belong to me.
That, to me, is the core of fantasy - real people in a crazy environment, dealing with crazy problems. That's what I think the books of 'The Witcher' did really well, and it's what attracted me to them, in the first place.
When we think of the myth of the settling of the West, this is our creation myth. But because we think of it as mythology, not as real people interacting with other real people, we ignore the cost of human lives and blood.
There are definitely a lot of roles I didn't get based off of the way I look, but I'm not going to let that stop me. I'm going to write stories for myself or work with filmmakers who want to tell stories about real people.
You have to always try to think about them like real people first, and not just heroes. They have to be real characters. As people do more and more superhero stuff, the characters are what distinguish it, just like in cop shows.
Flea markets tend to be overwhelming. A lot of times, when I go with a first-time shopper, they don't buy anything. The rooms in my new book involved real people with real design dilemmas. They were paralyzed to make a decision.
'Star Wars' is very black and white, and honestly, I like it that way. But fantastical settings like that work best when the characters within them feel real. Real people have conflicts and make mistakes and get it wrong sometimes.
I can't even look at daily comic strips. And I hate sitcoms because they don't seem like real people to me: they're props that often say horrible things to each other, which I don't find funny. I have to feel like they're real people.
When you are doing a film about real people, you don't have a lot of manoeuvrability when it comes to how much you can add by way of imagination. You have to replicate what they were like. What you can add to it is your version of it.
What pedophiles and people who have sexual desires on children lose sight of to a terrible, terrible degree - a devastating degree - is that their victims are real people who will suffer forever whatever abuses are perpetrated on them.
Real people have trouble balancing their checkbooks, much less calculating how much they need to save for retirement; they sometimes binge on food, drink, or high-definition televisions. They are more like Homer Simpson than Mr. Spock.
I never wanted to return to Hollywood because Hollywood people and the fakeness - very artificial and not dear to my heart. After I lived in the Midwest, and I learned what sincere, real people were all about, I never wanted to go back.
I like to write about real people, real crimes. But what has increasingly come to interest me, and also appear to me as a challenge, is the idea of doing strange things with what is real. Take what is real and make it more or less real.
I'm writing about real things. Real people. Real characters. You have to believe what I write about is true or you wouldn't pay any attention at all. Sometimes it's me, or a composite of me and other people. Sometimes it's not me at all.
If you make an authentic political film, which talks of real people and real events, in a politically conscious country like India, it is but natural that people will react to it in different ways and there will be a collage of opinions.
Surely it is a magical thing for a handful of words, artfully arranged, to stop time. To conjure a place, a person, a situation, in all its specificity and dimensions. To affect us and alter us, as profoundly as real people and things do.
Marvel is really about the stories of Peter Parker and Bruce Banner or Jessica Jones. These are - I'm hesitant to say the word, but - real people with real problems whose power comes, to use the great expression, with great responsibility.
I wrote about real people and real circumstances and real neighborhoods. There was no crypt or castles or H.P. Lovecraft-type environments. They were just about normal people who had something bizarre happening to them in the neighborhood.
And they didn't have to get into a lot of legal speak or talk ER terms, they were real people. I think that's why so many actresses were attracted to it. And it was just about problems that you could identify with so much, right off the bat.
Well, now, and there's - for every dollar the federal government spends, there's real people on the other side, and so when we talk about reductions that are going to affect providers, that's going to affect hospitals and doctors and others.
Doesn't matter whether it's a teen girl who's pregnant, hasn't told her parents, or an elderly couple dealing with one of them being diagnosed with Alzheimer's. Those are real people to me. Those are the people I dealt with every single day.
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
As with real reading, the ability to comprehend subtlety and complexity comes only with time and a lot of experience. If you don't adequately acquire those skills, moving out into the real world of real people can actually become quite scary.
Every second, every day, every year, we fail to address demand for reproductive health and family planning services. Lives are lost, and girls' opportunities to thrive and contribute to their country's development shrink. These are real people.
Middle-out economics rejects the old misconception that an economy is a perfectly efficient, mechanistic system and embraces the much more accurate idea of an economy as a complex ecosystem made up of real people who are dependent on one another.
I did this TV show, which was my first job ever. It wasn't a real acting part. It was like this promo for this sitcom and the main actress was meeting three different real people and then she was going to decide who was going to be on the episode.
'Gob' is a character that I enjoy playing immensely because I have so much freedom to take his dim-wittedness to all sorts of low levels. I find him interesting because when you see real people who are completely self-unaware, it boggles your mind.
If you put a real leaf and a silk leaf side by side, you'll see something of the difference between Homer's poetry and anyone else's. There seem to be real leaves still alive in the 'Iliad,' real animals, real people, real light attending everything.
We're real people and we're a band that's been playing on the scene for a long time. We've made a lot of friends, and one enemy we've always had was the NME. They've always basically slated us and they've basically never ever written about the music.
Eliza Factor's first novel, 'The Mercury Fountain,' explores what happens when a life driven by ideology confronts implacable truths of science and human nature. It also shows how leaders can inflict damage by neglecting the real needs of real people.
The best way to honor real people when you play them is to try to tell the story of their dynamics and the struggles that they're dealing with rather than lose sight of the connections and personal relationships, and do a really good job at an accent.
Games are quite shy at talking about different things. Most are about facing hordes of monsters or saving the world or whatever; few games actually talk about the real world, about real people, about their relationship, their emotions, their feelings.
I have friends that I have made through Twitter or things like that, but they're all verified as real people - I've either seen them perform, or we're mutual fans of each other, something like that. I don't have any authentic, 'Catfish'-worthy stories.
Get the shading right, the lighting right, and there are things you can do to make the CGI look more real. People end up going crazy and give themselves a little too much freedom in how they use CGI, and if you overuse it, it draws attention to itself.
There's a certain amount of pressure that comes from playing real people. It's a pressure to deliver something fair and right to the real person and any living relatives. But generally, it's a joy, as you get to target your interest on a particular era.
The lesson for businesses is you are dealing with real people. Those are your customers, those are your employees, those are your bosses, and the better you understand how real people tick, the more successfully you will be able to accomplish your goals.
What any candidate should do in any race, frankly, is to show up. There's no special, secret sauce there. It's about having real conversations with real people, and when you do that you stay tethered to the things that matter. And that's what people want.
Iran is not a make-believe country. It is a real country populated by some 75 million people - real people; including, I daresay, a majority who are philosophically and by education inclined toward the modern, secular world, and particularly American values.
I think country music is popular - has been popular and will always be popular because I think a lot of real people singing about a lot of real stuff about real people. And it's simple enough for people to understand it. And we kind of roll with the punches.
When you are a people's movement, you have one thing. Your only asset is people. And you have to deal with real people. Not the people of your imagination. Not the people you wish people would be. But people as they exist actually out there in the real world.
People bought bitcoin because they thought it would be worth more tomorrow. And a lot of people got lucky. But we're not seeing real people use bitcoin. And we don't know what problem it solves. Now, blockchain, I think, is a genius advancement in technology.
The people I've met through my path in activism, we're trying to bring real people into a leadership role because we are real Americans and know the true pain of having to worry about our children. And there's no force like a mother trying to protect her child.
With my physicality and my face, I don't think I could pull off a completely righteous guy. There's something devious about my eyes. I like characters with flaws and to see how they overcome those flaws. I want to play real people, and they're flawed, not perfect.