Quotes About Reality

Film can be more of a reality than a page with words can ever be.

I've always thought that one of the least successful encounters is meeting a writer one admires. For one thing, writers are generally much kinder, more empathetic, more generous people on the page than they are in person.

As far as I'm concerned, the only difference between fact and what most people call fiction is about fifteen pages in the dictionary.

Once, I thought I had a novel, and it turned out it was only a short story. I wrote about 800 pages, but it ended up being a short story. And if it ever happens to me again, I Will Go Insane.

Now, in reality, the world have paid too great a compliment to critics, and have imagined them to be men of much greater profundity then they really are.

I think I was probably always a liar; I just get paid for it now.

Pain is real when you get other people to believe in it. If no one believes in it but you, your pain is madness or hysteria.

We're all making castles in the sand, wonderful tapestries, an exquisite corpse. But is it meaningful? No. It's dogs barking. It doesn't mean anything beyond our yelping, at the pain of being alive.

I paint things as they are. I don't comment.

He knows much of what men paint themselves would blister in the light of what they are.

In computing, everything happens inside this rectangular screen. I want to get the pixels out, paint the world, and allow us to interact with it.

You can put an extra coat of paint on a jalopy, but it's still a jalopy.

It's dangerous that we can all paint a completely false picture of ourselves.

I don't paint, and I can't draw, but I see things, I think, quite well, and I love being able to freeze things with the camera, particularly the children. Then I discovered with the camera that you can tell a whole story with just freezing a moment in reality. I find it a very good way, a very satisfying feeling.

Labour allowed ourselves to be painted as anti-business for talking about insecurity, when in reality, the opposite was true.

In painting you must give the idea of the true by means of the false.

Every painting I do blends time frames. The great thing about being an artist is I can make the past join the present in some reality of the future.

I don't want to be a propagandist or say that Pakistan is just great. There are problems, but it is a much more complex place than we are given to believe.

Whenever you talk about Chinese dragons, emperors, palaces, concubines - they conjure up a whole colonial argle-bargle that has nothing to do with historical reality.

Most of the time - in 'Pan's Labyrinth' or 'Devil's Backbone' - I'm talking about my childhood.

When I had my first panic attack, I believed that it was a heart attack.

The paparazzi stuff is a little weird. I used to leave the house in my pajamas. I can't do that anymore, but I'm not complaining!

Some people think of the '50s as a time of innocence, but they are misremembering it or reinventing it: if you look at the papers of the time, they are filled with dread and anxiety.

I don't want my work or me, as a person, to be held up as a paradigm because, as Richard Dawkins knows, if people hold you up too much, you're only ever going to disappoint them by being a human.