Quotes About Realism

I think that the worst form of naivete can be extreme cynicism. If you think that nobody comes to Washington to do any good whatsoever, that is almost as bad as being starry-eyed and thinking that they are all here to advance democracy.

I always look at these superhero films, and I see people hurdling towards at a hundred miles per hour, and then they get up, shake their head, and charge back at a hundred miles per hour. Nobody seems to really get injured or hurt. I don't find any threat in that. There is no tension in that whatsoever.

Whenever you're going to play a real person, you run the risk of well, everybody in the world kind of has an image of what that person is and who he should be and so you really have to do your homework.

I am not an optimist. I'm a very serious possibilist. It's a new category where we take emotion apart and we just work analytically with the world.

The thrill of a photo-realist painter is if you get really close to the painting, it looks just like a photograph. Whereas in my case, if you get close to my paintings, they totally fall apart - so I'm about as far from a photo-realist as it gets.

A true architect is not an artist but an optimistic realist. They take a diverse number of stakeholders, extract needs, concerns, and dreams, then create a beautiful yet tangible solution that is loved by the users and the community at large. We create vessels in which life happens.

I'm sick of very white teeth and lots of gymnasium practice. I'm bored, you know, send in the next one. I wanted a real man that I could believe was my brother, my father, you know, my next-door neighbor - a real person.

In a world of cell phones and satellite feeds - a world in which the president can sit in the White House situation room and watch a military action unfold on the other side of the world - it is not realistic to expect TV news to be anything but what it has become: a ceaseless flow of words and images that may or may not be accurate.

Today, Democrats not only have the White House; they have the Senate too. So we have to be realistic about what we can and cannot achieve, while at the same recognizing that realism should never be confused with capitulation.

Idealism doesn't prevent problems.

I think the way you prevent your man from cheating on you is to just have a good understanding about who he is first. If you know that the guy you're with is a player and he's already kind of living the life, you know what you're getting yourself into. You have to be real with yourself.

All early entrepreneurs fall prey to the same problem, which is everyone believes that if you are super intense in the beginning, work long hours, that you can create something quickly and that entrepreneurship is almost something that happens overnight.

To put up with what you cannot avoid is a philosophical principle, that may not perhaps lead you to the accomplishment of great deeds, but is assuredly eminently practical.

If you're doing a prison show, HBO is the absolute best place in the world to be doing that because you're not going to have to do all that, you know, 'Prison Break' stuff where you can't really behave and speak like people do in a maximum-security prison.

Idealism increases in direct proportion to one's distance from the problem.

I really try to say things as they basically are and it so happens that it is a good message that things are getting better, but there are still problems.

I do really like serio-comic movies that treat real difficulties in a real way.

I don't think much about the digital world... because I am in the analog world!

I think for the disaster to work and the drama to work, you really need to feel like you're really in that world.

When I was at the Cordon Bleu things took hours and hours and hours to make. And they were beautiful dishes - and I know how to cook that way - but I was like, 'no one is cooking like this.'

It's the only way I really know how to tell the story is to be able to kind of live through the characters. So when I find something that resonates with me, it's usually because it cuts to something very real inside of me; something that I've gone through or experienced.

I wouldn't write about something that I haven't experienced myself.

On 'Y Tu Mama Tambien,' we started exploring shots that are longer, where the camera is moving around the actors, and there are no cuts, and you feel like you're there.

Reality is always extraordinary.