Quotes About Realism

Frankly, adopting a humble mindset when faced with the complex, dynamic, uncertain world in which we all work today is simply realism.

Reality can be very boring.

We should adopt his principles and govern men as they are and not as what we'd like them to be.

Within every one of us, there lives both a Don Quixote and a Sancho Panza to whom we hearken by turns; and though Sancho most persuades us, it is Don Quixote that we find ourselves obliged to admire.

It is not the absence of professional actors that is, historically, the hallmark of social realism nor of the Italian film. Rather, it is specifically the rejection of the star concept and the casual mixing of professionals and of those who just act occasionally. It is important to avoid casting the professional in the role for which he is known. The public should not be burdened with any preconceptions.

But realism in art can only be achieved in one way—through artifice.

Photography and the cinema on the other hand are discoveries that satisfy, once and for all and in its very essence, our obsession with realism. No matter how skillful the painter, his work was always in fee to an inescapable subjectivity. The fact that a human hand intervened cast a shadow of doubt over the image.

The image - its plastic composition and the way it is set in time, because it is founded on a much higher degree of realism - has at its disposal more means of manipulating reality and of modifying it from within. The film-maker is no longer the competitor of the painter and the playwright, he is, at last, the equal of the novelist

neorealism runs counter to the traditional categories of spectacle—above all, as regards acting

FOREWORD by François Truffaut

Is not neorealism primarily a kind of humanism and only secondarily a style of film-making?

The objective nature of photography confers on it a quality of credibility absent from all other picture-making.

Painting was forced, as it turned out, to offer us illusion and this illusion was reckoned sufficient unto art. Photography and the cinema on the other hand are discoveries that satisfy, once and for all and in its very essence, our obsession with realism.

Hilbert, who was always down-to-earth, liked to say: 'One must always be able to say "tables, chairs, beer-mugs", instead of "points, lines, planes".

You weigh your pros and cons and what's real. You want to play baseball? Yeah. You want to go to school? If that's the best option, than that is what it is.

I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.

It's always weird doing love scenes. And the thing is, you can't really photograph two people kissing naturally, because then you wouldn't be able to see anything.

'Welcome to the Dollhouse' is great. Even though it's about a girl in middle school, to me, that feels like the most honest reflection of what being a kid around that age feels like.

Obviously, it's nice when you're having success, but this isn't going to last forever. There are going to be rough times as well, but you've just got to ride those.

Being really likeable all the time is just not real life, so it's your duty to make a well-rounded character.

I love 'Exit West' by Mohsin Hamid. It's a magical realism retelling of the refugee experience, where people find these magical doors that transport them to another country.

It was my effort, in depicting the West, to depict it as it was.

I was too practical to want to be a painter.

If somebody says to me, 'Oh, you're gonna get married and you'll never be attracted to anybody else again,' I'm like, right, sure. It's just not practical to me on an emotional level. Just because I'm married, I'm not dead.