Greg Rucka Quotes

In order to deliver the emotional truth in the story, you have to include some of the literal truth.

The closer you stay to emotional authenticity and people, character authenticity, the less you can go wrong. That's how I feel now, no matter what you're doing.

People see truth in my films. That's what they react to, and that's what they relate to.

If it makes you cry, it goes in the show.

In the end, it's about the reality. You want something that's believable in the performances; you want something that's believable in the storytelling, in the writing. You just want to connect to something that you feel is real.

Even though I'm an actor, even though I know a little bit about film, I very much view things as an audience member. For me, whether it's TV, film, theater, whatever, it's a big movie, a small movie, whatever it is, I look for the truth in it. I look for the honesty. I just look for if it feels honest and real to me.

What I write is emotionally honest and truthful as the human experience can be, to make people feel less alone, or at least that's the hope.

Fiction, at its best, is a radical act of intimacy. It seeks to join, to merge, to know deeply; and, as with intimacy, there is a way in which it cannot be faked.

I think that people respond to honesty in music, so I only choose songs that are the truth for me.

I think most of my songs are based on an emotion and in every song I write, there's at least a partial truth.

I try to give each performance my own soul, to bring a truth to my character. Hopefully, when I bring that much truth to a character, it resonates with somebody, and it sparks some kind of emotion in them.

I am interested in personal stories because that's when people become expressive, spontaneous and heartfelt.

I know what I like in other actors: truth. That's the best. It makes you say, 'OK, I'll go with you on this.'

When you hear my music and you feel the emotion, it's real. When you see me in a film and you see a tear, it's real.

When I'm sitting writing, I know that something works if I've made myself cry, or laugh, or have a visceral emotion.

What is most important to me is that my narrator's voice is believable, and that, though it is clearly an absolute fiction, it has the emotional resonance of memoir.

I look at scripts really for whether they can be moving or penetrate some kind of truth. You are constantly chasing that feeling as an actor when every part of a production comes together.

For me, the most effective cabaret evenings have been some of the most personal ones, where the performer is comfortable enough to simply be themselves.

You just have to make sure you're writing about something that's true. It has to be honest and it has to have a real emotion behind it, regardless of where it's coming from.

I can't speak for readers in general, but personally I like to read stories behind which there is some truth, something real and above all, something emotional. I don't like to read essays on literature; I don't like to read critical or rational or impersonal or cold disquisitions on subjects.

It's the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I'd be able to do something quite honest.

Even in fiction, I feel rigorous honesty applies. It doesn't apply to facts; it applies to what I think of as not telling emotional lies, which is a funny business.

I used to say to my bubbe, 'Bubbe, is this story true?' And she'd say, 'Of course it's true! But it may not have happened.' What my bubbe was saying is profound: All stories are true. The truth is the journey you take through it - did it make you laugh, cry, seek and want justice? Then it's true.

To be honest with my music... for me to expect anyone to connect it has to come from a place of honesty.

Music is emotional. Your job is to make people feel something. The best way to do that is to sing and speak from something they've personally been through. That's where I write from.