I grew up at the time of Social Realism in Poland, when everyone was supposed to be ‘writing for the workers.’ But I soon became allergic to this. I have never written for audiences. I like it if they appreciate my music. But I would never change my style for them.
I read a lot of fantasy as a kid. I read ‘The Hobbit’ and all of the ‘Lord of the Rings’ books, but I also read a lot of realism like ‘The Outsiders.’
The tiniest event can tear a hole in the grey curtain of reaction which has marked the horizons of possibility under capitalist realism. From a situation in which nothing can happen, suddenly anything is possible again.
A lack of realism in the vision today costs credibility tomorrow.
I believe realism is nothing but an analysis of reality. Film scripts have a synthetical constitution.
It’s time to bury the unreal, failed ‘realism’ of those who have long thought that dictators brought stability.
We need realism to deal with reality.
There is one thing the photograph must contain, the humanity of the moment. This kind of photography is realism. But realism is not enough – there has to be vision, and the two together can make a good photograph.
I’m a huge fan of French comedy. The French play comedy in a slightly different way than we do: they play it with a sort of realism that we don’t necessarily often do ourselves.
‘No Sweetness Here’ is the kind of old-fashioned social realism I have always been drawn to in fiction, and it does what I think all good literature should: It entertains you.
Real talent is mixing realism with bluff. Every great artist I really respect has a certain amount of bluff; sooner or later you have to be a conjurer, and conjure images.
I think sincerity was my sole aesthetic and realism my experimental technique.
For me, my realism has stood me over 15 years, so the kind of films that I have done has garnered enough respect for me to be able to survive the industry.
What passes for political realism may make for lively academic debates. But it often functions, ironically, as a tool of social control, rendering us passive with an analysis that overwhelms and paralyzes us.
I’m aware of cliches and I’m aware of experiments that have been done and I’m aware of a kind of deadness to a lot of realism both in the language and in the structure of a book.
The Negro problem, like all other political problems, is fundamentally a moral issue. This is realism, not idealism. Those of my colleagues who believe that they are particularly ‘hard boiled’ because they overlook the fact that human beings are struggling for their consciences are simply unrealistic.
It is foolish to view realism and idealism as incompatible or to consider our power and wealth as encumbered by the demands of justice, morality, and conscience.
I believed in realism, as summarized by John McCarthy’s comment to the effect that if we worked really hard, we’d have an intelligent system in from four to four hundred years.
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.
There’s a time and a place for a bit of realism, and it’s bands like Arctic Monkeys that do it amazingly well. But why do bands have to recycle something that’s already been done very well? We wanted to make interesting pop music, and to drop in literary references.
I don’t think I’m influencing younger artists – they’re not trying to be me. But I don’t say that in bitterness. I say that with realism.
‘War and Peace’ holds a strange place in literary history, participating in the crowning of realism as a substantial and serious literary mode in America, even as the novel also contributed to the argument that historical fiction could be by nature dangerous, illegitimate, and inaccurate.
Distrust of government isn’t baseless cynicism. It’s realism.
Calls for the simplification of abstract or allusive art have always come from governments suspicious of artists themselves. This is why totalitarian regimes have always legislated some form of realism.
I love many realists but very strongly resist the notion that realism presents a less stylized, more authentic version of the world.
So many people think that if you’re writing fantasy, it means you can just make everything up as you go. Want to add a dragon? Add a dragon! Want some magic? Throw it in. But the thing is, regardless of whether you’re dealing with realism or fantasy, every world has rules. Make sure to establish a natural order.
What I’ve found in my research is that realism and self-honesty are the antidote to ego, hubris, and delusion.
Guy Ritchie likes to ground things in realism.
You achieve the surreal jokes through the realism by making it elastic.
I saw a production of ‘Titus Andronicus’ at the Royal Shakespeare Company with Brian Cox back in 1987. That sort of rocked my world. It was a remarkable production in its simplicity and its realism and passion.
I stopped making movies because I don’t like taking my clothes off. Maybe it’s realism, but in my opinion, it’s utter filth.
Kafka’s inevitable tropism for the allegorical puts him in marked opposition to the realism that dominated the literary world of the first half of the 20th century.
As a young writer, I was sort of sailing around trying to ‘find my voice’ – for lack of a better term – and I was really chafing against the very minimal brand of domestic realism that I’d read so much of in college.
‘Call Of Duty’ initially cut its teeth on World War II simulation stuff, and then we gradually advanced to the end of the Cold War, but you can’t keep doing the same thing over and over again. And I think that because ‘Call Of Duty’ cut its teeth on presenting ‘realism,’ in quotes… verisimilitude.
I gravitate much more toward realism, realism in the work that I do, but magical realism got me hooked on film. I think it was my first time realizing that there was something besides popcorn movies.
The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori’s plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
As an actor, you work to the script: that’s our main priority. But you have to be aware and look around for things that help you bring that little bit extra, that touch of realism that rams the point home.
The romantic idealism of my youth has been replaced with realism and hard work at what I love.
Magical realism is a blending of the unusual or supernatural into an otherwise ordinary setting. And, to me, this perfectly describes the South. ‘The Sugar Queen’ involves a lot of magical happenings, but in a very down-home Southern setting. It’s full of things that could almost be true.
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.
The beauties of the game may be lost on some of us sometimes, but many children will read about football when they will read nothing else, not for realism or glamour but for romance.
My mother learned that she was carrying me at about the same time the Second World War was declared; with the family talent for magic realism, she once told me she had been to the doctor’s on the very day.
I like movies where everything is dealt naturally and with a sense of realism.
I definitely don’t think of myself as someone identified by region. It’s too far-flung a region, for starters, and southern New Mexico is very isolated. I wouldn’t think of my identity as generational, either, but maybe as more stylistic, in the school of realism and domestic issues.
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