Best 18573 quotes in «real quotes» category

I think when you work on a Woody Allen film the actors become a real company, probably more than on any other film.

I think when you write an enigmatic character into a film, you have to have real confidence that the audience are going to go with it.

I think writers can get too attached to these worlds they create, these characters they make real, so that, instead of ending the story where the story's asking to end, they draw it out, unable to let go.

I think writing kind of burns out the flaming question. Sometimes it might feel like when you're living with certain paradoxes and they're unarticulated, you feel pressure to choose. I feel more comfortable living in the paradoxes that I've named and laid out, whereas when I started they might have felt like real agitations. At least I see them more clearly after having sketched them for myself and made a place to stand in relationship to them that felt okay enough to last through the course of a book.

I think when you think of my films, I think hopefully you think of an extreme sort of real unfolding, real-time, performed, feeling semi-improvised, you know what I mean, all that.

I think with Donald Trump we're seeing the sort of utterly vanished line at long last of enter - between entertainment and politics. I mean there's always been an enormous dose of entertainment in politics. Trump has completely erased that line but the Trump phenomenon when it comes to where the media's culpability is how much we should be beating ourselves up, that's a complicated question because one of the distinctive features of our era is we know exactly what consumers are doing almost in real time.

I think worrying things are going on in England - a real apathy.

I think you can get away with so much more offensiveness when you're operating behind a stuffed teddy bear or a cartoon or something that's not real, because it's forgiven. It's like having a little kid in a movie curse - it's funny because it's not natural.

I think you can get happiness through making a real difference in other people's lives by setting out to make other people's lives better and setting out to right the wrongs in the world.

I think with world building, it's important to create a sense of culture even if it is just a fantasy, and the best way to do that is to look at a real human culture and see what makes it cohesive.

I think you either live a real life or you live a weird celebrity pseudolife.

I think you have to learn that there's a company behind every stock, and that there's only one real reason why stocks go up. Companies go from doing poorly to doing well or small companies grow to large companies.

I think you can tell the difference between "swagger" and real confidence immediately. You can smell it, like bad body spray versus nice cologne.

I think you have to have a real point of view that's your own. You have to tell it your way. And, I think that it's a mistake to shoot for a specific magazine's point of view because it's never going to be as good. You have to shoot for yourself and photograph [ the way] you believe it.

I think you either live a real life or you live a weird celebrity pseudolife. I think I lead a really real life.

I think you have a pact with an audience in every picture, and I think the pact is to try and be truthful and to be real.

I think you have to be yourself, and you have to be real and you have to admit what you don't know, and talk about what you do know, and talk about what you don't know as long as you say you don't know it.

I think you've really got to cling to what makes sense to you. Obviously, I'm not a serial murderer in my real life, so that's where you have to delve into and do all the research. But, you have to find something likable in the character.

I thought, If I'm an ancestor and grandmother when I'm twenty-five, I should go peacefully to the real time when I'm an ancestor and a grandmother.

I thought I knew what loneliness was before he found me, but I had no clue. You don't know what real loneliness is until you've known the opposite.

I thought I started acting at 5 or 6, it was really when they were interviewing real families for a toothpaste commercial. They interviewed our family.

I thought it was real. But by morning, all I had left were fragmented pieces, shifting images with no beginning or end.

I thought I was an old soul, and that I knew life, but then starting the real life, I figured I am completely new.

I thought of the character being real, a living person, not a drawing.

I thought Pan's Labyrinth was one of the greatest films I've ever seen, just pure artistry. Guillermo Del Toro is just really something, this guy. And he's a real mensch: down-to-earth, funny, huggy, and terrific.

I thought we were in a church basement, but we are literally in the heart of Jesus.” “Someone should tell Jesus,” I said. “I mean, it's gotta be dangerous, storing children with cancer in your heart.” “I would tell Him myself.” Augustus said, “but unfortunately I am literally stuck inside of His heart, so He won't be able to hear me.

I thought that one of the things that we were losing sight of is the basic reasons that we do protect free speech and freedom of the press and the essentiality and centrality in our lives of really giving broad protection to freedom of speech and freedom of the press in America. I thought I could do that by telling stories of some of the cases that established those principles on a real life on the ground basis.

I thought what I was good at doing was playing real simple guitar licks, since I'd cut my teeth on what Duane Eddy was doing; licks that were simple but had staying power.

I thought that when I won the Olympic trials I was going to be the happiest person in the whole world. And I was happy. But it wasn't like I thought it was going to be. I had already imagined it in my head so many times. It was real before it happened.

It is abundantly evident that, however natural it may be for us to feel sorrow at the death of our relatives, that sorrow is an error and an evil, and we ought to overcome it. There is no need to sorrow for them, for they have passed into a far wider and happier life. If we sorrow for our own fancied separation from them, we are in the first place weeping over an illusion, for in truth they are not separated from us; and secondly, we are acting selfishly, because we are thinking more of our own apparent loss than of their great and real gain.

It is a basic human need that everyone wants to live a happy life. For this, one has to experience real happiness. The so-called happiness that one experiences by having money, power, and indulging in sensual pleasures is not real happiness. It is very fragile, unstable and fleeting. For real happiness, for lasting stable happiness, one has to make a journey deep within oneself and get rid of all the unhappiness stored in the deeper levels of the mind. As long as there is misery at the depth of the mind all attempts to feel happy at the surface level of the mind prove futile.

I throw dignity out the window, and just become a creature of the moment on the stage. I act like I'd never act in real life.

It is a good life, Hazel Grace.

It is a fallacy to think that carping is the strongest form of criticism: the important work begins after the artist's mistakes have been pointed out, and the reviewer can't put it off indefinitely with sneers, although some neophytes might be tempted to try: "When in doubt, stick out your tongue" is a safe rule that never cost one any readers. But there's nothing strong about it, and it has nothing to do with the real business of criticism, which is to do justice to the best work of one's time, so that nothing gets lost.

It is always disagreeable to take stands. It is always easier to compromise, always easier to let things go. To many women, and I am one of them, it is extraordinarily difficult to care about anything enough to cause disagreement or unpleasant feelings, but I have come to the conclusion that this must be done for a time until we can prove our strength and demand respect for our wishes. We cannot even be of real service in the coming campaign and speak as a united body of women unless we have the respect of men and show that when we express a wish, we are willing to stand by it.

It is all about marketing; that is where the real craft comes in. The best actors do not necessarily become the biggest stars. And vice versa.

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.

It is a misfortune, inseparable from human affairs, that public measures are rarely investigated with that spirit of moderation which is essential to a just estimate of their real tendency to advance or obstruct the public good; and that this spirit is more apt to be diminished than prompted, by those occasions which require an unusual exercise of it.

It is a magic book. Words mean things. When you put them together they speak. Yes, sometimes they flatten out and nothing they say is real, and that is one kind of magic. But sometimes a vision will rip up from them and shriek and clank wings clear as the sweat smudge on the paper under your thumb. And that is another kind.

It is a most certain truth, that the richer we see ourselves to be, confessing at the same time our poverty, the greater will be our progress, and the more real our humility.

It is an illusion that youth is happy, an illusion of those who have lost it; but the young know they are wretched for they are full of the truthless ideals which have been instilled in them, and each time they come into contact with the real, they are bruised and wounded.

It is a misrepresentation to call my works fiction; the work loses something when categorized this way. I realize that the stories are somewhat unbelievable, but the fact that they do actually unfold in reality and leave evidence, that they play out in the "real" world, is important to the work. I am the protagonist of the story, but I am not in full control of it.

It is an absolutely vain endeavor to attempt to reconstruct or even comprehend the nature of a human being by simply knowing the forces which have acted upon him. However deeply we should like to penetrate, however close we seem to be drawing to truth, one unknown quantity eludes us: man's primordial energy, his original self, that personality which was given him with the gift of life itself. On it rests man's true freedom; it alone determines his real character.

It is a real honour to have been modelling for Britain's biggest paper for half a decade. Page Three is a British institution and it has been brilliant to be part of it.

It is a real service to humanity and the world to be a good programmer, particularly if you design great products. You make is easier for everybody, everybody has less headaches.

It is a real wilderness, and those who go there should not feel too safe.

It is a popular fact that nine-tenths of the brain is not used and, like most popular facts, it is wrong. Not even the most stupid Creator would go to the trouble of making the human head carry around several pounds of unnecessary gray goo if its only real purpose was, for example, to serve as a delicacy for certain remote tribesmen in unexplored valleys.

It is a real tragedy for a nation when three groups of it's people, namely politicians, religious leaders and charity workes, just pretend to be generous.

It is a pleasure to a real lover of Nature to give winter all the glory he can, for summer will make its own way, and speak its own praises.

It is a real issue, a measurement of our society, when we say it's fine to destroy unborn life who has a heartbeat at 16 days post-conception.