You know what matters? Touching people. Being a real person. Because when you’re in front of real people, they gon’ give you a real reaction.
I think about a Richard Avedon photo series, the kind of faces he gets of real people, which I find so captivating. Fellini was also great in filling his films with this ambiance, this environment, sometimes chaotic and carnival-like, but people’s faces were always amazing.
My Southern heritage is a big part of who I am. I grew up around people who seemed like characters but are actual, real people. My grandmother made sure I had manners and all that stuff.
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.
All I’ve ever tried to do is play real people.
The big percentage is us, the real people, and we have to say something. You have to speak up. You have to.
Much like film, authors spend a fair amount of time alone in the creative process, tossing their work out into what can feel like an abyss, void of real people.
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.
When you’re with real people, you don’t have to be with virtual people.
As I get older, I find myself way more into sports. I’m in a basketball league. You maybe know some of the people in it. They’re real people, not fake ones like me.
It was easy to believe, between lessons on Shakespeare and Dickens and Austen, that all of the great stories had already been written by dead Europeans. But every time I saw ‘The Outsiders’, I knew better. It was the first time I’d realized that real people write books.
Real people speak in my books about the main events of the age, such as the war, the Chernobyl disaster, and the downfall of a great empire.
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.
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.
My characters are fictional. I get ideas from real people, sometimes, but my characters always exist only in my head.
I think people are interesting enough. People with mental illness, or just real people going through real circumstances in life.
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.
As a child, I was always drawn to heroic characters. I decided I wanted to act when I realised that Superman and all those gangsters and Indians were just real people in costume.
Fights in real life between real people only last so long before someone gets seriously hurt.
I’ve played quite a lot of real people, and it carries a special responsibility.
There’s something magical about spending a Sunday night watching real people at a deli, then watching fake people pretending to be real on TV, then engaging in (arguably) false interaction with (arguably) real people on the Internet. Never at any prior point in time has this been possible.
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.
We made this movie for $17, and nobody got anything. So it never dawned on me that we would get real people.
If you keep eating McDonald’s, you gonna get sick. You need a real home-cooked meal. And I knew that that would be healthier. And that’s what Wu-Tang was: It was a home-cooked meal of hip-hop. Of the real people.
The recent controversy over the portrayal of Ken Taylor and his embassy staff in the movie ‘Argo’ brought home to me the great responsibility we writers have when telling stories that involve real people.
Beneath the 30 pounds of makeup and corsets and gowns are real beating hearts of real people and they usually come from a place of pain.
I try to write about real women, real people – in other words flawed characters.
Towns have to evolve. Towns have to grow up. But not at the expense of the real people.
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.
I don’t have any special approach for playing dark characters. That’s because I never looked at them as dark characters per se. For me, they were real people.
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.
I’m very drawn to characters who are very flawed. I’m less interested in characters who are just good or bad, because to me then they’re not real people.
I’m uninterested in superheroes. I am only interested in real stories, real people, real connection.
Another little known fact about Amazing Tennis – the computer opponents are modeled after real people. In an odd turn of events, I joined a division 3 college tennis team at age 38.
I’ve been lucky to travel and work all over the world through the lens of the back of the house, and I love that monocle. I love that lens, because it’s real people.
I think, really, what I’m interested in is whole women, real people.
A lot of children’s entertainment is animated, and I guess the beauty of The Wiggles is that we’re still real people… You’re able to be predominantly yourself. I think that’s why children relate.
