Quotes About Realism

It was really implemented in me from day one that everything I do out there cannot be misconstrued as fake. That's not to say I won't do things for a chuckle, but my own personal style is to be intense and snug. I want it as real as humanely possible.

There's probably a little greater case for pessimism than optimism. But I do not rule out optimism.

I am not a pessimist; to perceive evil where it exists is, in my opinion, a form of optimism.

I'm not a pessimist, even though I do think awful things are going to happen.

I'm not a pessimist at all, but I'm not an optimist, either.

I'm a kind of hard-wired pessimist. I can't help but see the world in a certain kind of way.

I'm a pessimist.

In the current climate, we live in a pessimistic and non-idealistic world.

But I'm interested in the Barnes Collection in Philadelphia. I hear there are some of the worst Matisses there. I like seeing bad art by good artists. It's inspiring. I'm able to identify with them. It makes them real.

My basic philosophy is that no human being is a saint.

My goal was to do anything that would lead to a job. I know that writing would not lead to a job. It's too fancy for me. My biggest goal was to be an office receptionist, answer phones. I didn't expect to go beyond that.

I personally have gone to photo shoots and see the pictures afterwards, and I don't look like me because I'm just so airbrushed and so, kind of, fake and almost plastic-looking, you know?

As soon as I gave birth, I had, like, 20 kilos, which I think is about 50 lbs., and I realized, 'Oh my gosh - in one month, I have my photo shoot.' So I had to lose a lot, and you know, it doesn't happen in one month. So it took me almost a year because I think, realistically, it takes about a year.

Photograph the world as it is. Nothing's more interesting than reality.

Things have to be believable, not in a literal, photographic sense, but in an emotional sense - capturing the essence of the situation.

Photographers must learn not to be ashamed to have their photographs look like photographs.

The first rule of world-building is available physics, which basically means that if you want it to feel real, it has to follow the same rules as this world, from gravity to how human behaviour works. If you have a fantasy element that doesn't obey the laws of physics, make sure that it has a fantasy explanation.

Movement and physics: These are the fundamentals of animation. You don't notice that stuff if it's done well, but if fabric or liquid or hair moves weird, your brain is like, 'Wait, that's not real.'

I just think action films now have... often, because you can do anything with CGI, people do. And I don't think you necessarily should. You lose that sort of human dimension, and you get all the stuff breaking the laws of physics.

I like books steeped in the quotidian - details about work and place. You can learn how to run a chicken-and-waffle restaurant by reading 'Mildred Pierce.' And I like fiction about money.

When you come to the set, and are aware of the limitations of the script or the director, don't expect the pigs to fly.

The Gift' doesn't deal with the neat, tie-me-up-with-a-bow kind of stories - they are grittier, messier, and not all of them have a happy resolution. You are following people and events that are more difficult, more elusive, and therefore harder to pin down.

Personally, I feel that if you shoot off 200,000 rounds, and your lead character pulls out a pistol and never gets hit, there's a sense of jeopardy that's lost. It becomes a little less exciting when things don't make sense.

For me, the comedies that truly work are the ones that are grounded in some way. If it's all heightened, it's really hard. It's a little slippery. It's hard to get purchase on the side of the wall.