Zitat des Tages über Echte Menschen / Real People:
When real people fall down in life, they get right back up and keep walking.
When you're famous, you don't get to meet people because they want you to like them when the present themselves to you, and you don't see the real people.
Right is right, and wrong is wrong, and when people start getting it confused, that means they need to sit down with some real people.
I always look at films as real stories with real people in real situations. That's why I struggle with the whole notion of calling someone the 'good guy' or the 'bad guy', because I think we all have potential to do good things and all have the potential to do bad things.
I'm a documentary filmmaker by training. You got to start with the real people and the real place.
Fights in real life between real people only last so long before someone gets seriously hurt.
Whenever you're telling a story about true-life events and about real people, there's a tremendous responsibility-slash-burden to get it right.
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.
Using the device of an imaginary world allows me in some strange way to go to the central issues - it's one of many ways to express feelings about real people, about real human relationships.
Typically, actors overplay jargon or toss it away in an extravagant display of casualness. Real people hit the important parts hard.
I try to play real people who inspire me through something in their journey.
I've played quite a lot of real people, and it carries a special responsibility.
It isn't as if a writer merely records life as it unfurls. Reality does not automatically transcribe as literature; real people are not shapely, compelling characters to be harvested. Charming facts and sharp observations rarely slide seamlessly into whatever narrative is at hand.
I think right about now we have to beware of marketed Malcolms and Martins. Real people do real things.
Researching real people and doing them, I think, is harder than anything else. You don't want to do a caricature of them and you don't want to do an impression. You just want to do the best you can, in terms of presenting their views and a general impression of the guy. That's the hardest thing to do, real people.
So much of what comes out of the faith community seems so dour and somber, and we want to say, 'Hey, we're real people. You can be a person of faith and really enjoy life and laugh.'
What does it say about a president's policies when he has to use a cartoon character rather than real people to justify his record? What does it say about the fiction of old liberalism to insist that good jobs and good schools and good wages will result from policies that have failed us, time and again?
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.
You should play with real musicians; the best music comes from real people interacting with each other.
There is something about seeing real people on a stage that makes a bad play more intimately, more personally offensive than any other art form.
At the core, I try to write characters who are real people with real insecurities, fears, hopes, and dreams, which is why hopefully readers can identify with them.
I like to take risks and do weird things and stuff that's not normal compared to other Hollywood movies. Not stuff that's totally avant garde and daring, but doing stuff that's in other languages and not using stars and using real people - things that they generally don't do in mainstream films.
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.
All I've ever tried to do is play real people.
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.
Real people are places to me as much as persons: I want to see them, as I want to see the places I am fond of, in all weathers and at all times of the year.
Meta-fiction doesn't depend on the illusion that you're reading about real people.
Actors are seen as celebrities, but they're just real people with families.
I've done a lot of movies based on real people, real situations, non-fiction books, magazine articles, life rights.
When I am preparing my 'lookalike' photographs, I think about the character of the real people, because, if the photographs are going to be plausible, you have to convince the viewer that they could have happened.
It is important to remember that all business has an impact on the lives of real people.
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.
For me, a great fantasy is real people, a world I recognise, human struggle and magic. You've got to have magic to make a fantasy work. But I like my magic to be subtle. I don't want magic coming out of the hands of wizards. I want it to be pervading, sinister somehow.
I always make this joke that I know you were expecting to see the big skirts and the hoops. But that was a long time ago. Artists aren't always seen as real people. If you start out as a teenager, sometimes people want to keep you locked as that. But I'm a woman now.
I love documentaries, I like observing real people.
I take real people and put them in extraordinary situations.