Diane Kruger Quotes

You're playing a character in a drama who happens to be based on someone who existed. It's never going to 'be' that person, but it's based on someone well-known, and you want to create enough of that person for it not to be a distraction.

I suppose and I hope that the young guys who are out there losing their lives at least feel the same way I did. I shouldn't think about this very much because I'm almost weeping when I think about it.

The Iraq I returned from was, in my mind, a fairly simple place. By which I mean it had little relationship to reality. It's only with time and the help of smart, empathetic friends willing to pull through many serious conversations that I've been able to learn more about what I witnessed.

The act of choosing what to place in your piece when you're a historian or a non-fiction writer already renders it into fiction for someone else. In some ways fiction comes a lot closer to reality. When you start talking about something as brutal as slavery and life in the American West, it's really important to take a non- judgmental stance. We romanticize a great deal about life in the American West, but I thank God I wasn't living during that time. No matter what color you were, it was rough, crude, tough living.

La guerre, la guerre, everything la guerre. That's how I grew up. So for me, it's real. It's not something in the past.

Violence, factory politics - these things simply form some bedrock of what interests me, but I'm a child of the twentieth century. And I don't see reality and its violence, wars, oppression, etc., and fiction as counterposed.

All those - or most of those - who went through the experience during the Second World War - they want to remember more - more and more. It's never enough because we feel that we have to tell the story. And no one can tell the story fully.

I'm not going to experience the reality of hardship that sometimes my characters live in. I'm very cautious about that.

I know what war's like. I know what scene's like.

In war you lose your sense of the definite, hence your sense of truth itself, and therefore it's safe to say that in a war story nothing is ever absolutely true.

The war now is away back in the past, and you can tell what books cannot. When you talk, you come down to the practical realities just as they happened. You all know this is not soldiering here. There is many a boy here today who looks on war as all glory, but, boys, it is all hell. You can bear this warning voice to generations yet to come. I look upon war with horror, but if it has to come, I am there.

The people who are slamming me have no idea about what it feels like to unjustly have a child killed in an insane war.

He said to tell you to remember your heart in all things, that it is where your honor and your destiny will be found. Does it mean anything to you?' It is something he would say from time to time-that the eye could be misled, but that the heart was true.

And since we don’t just forget things because they don’t matter but also forget things because they matter too much because each of us remembers and forgets in a pattern whose labyrinthine windings are an identification mark no less distinctive than a fingerprintit’s no wonder that the shards of reality one person will cherish as a biography can seem to someone else who, say, happened to have eaten some ten thousand dinners at the very same kitchen table, to be a willful excursion into mythomania

The only form of fiction in which real characters do not seem out of place is history. In novels they are detestable.

He could not understand why he had needed so many words to explain what he felt in war because one was enough: fear. ~Jose Aracadio Segundo Buendia After the second banana slaughter

For me, it's always difficult when a historical film claims to depict or represent a reality that none of us can know, that is always different. It's always the case. We never know what happened then. So my approach with the narrator is to question that, to leave that open, to underline the fact that this is uncertain.

I'm someone who lived in a war for five years. I received bombs on my head every day of my childhood. Did that stop me from living? Did that stop me from laughing?

Do you know, sire, I think that if we live to tell our grandchildren about this war, they will accuse us of making it up.' -Marielle

You can write a whole fiction, and you're talking to people who have gone through that, in real life. But the truth of it is that when you're talking to those people, you don't care about your movie anymore. You just want to hear about what they have gone through. You want all of the details. It's amazing.

Many years later, in front of the firing squad, colonel Aureliano Buendía would remember that distant afternoon his father took him to see ice.

It is painful to recall a past intensity, to estimate your distance from the Belsen heap, to make your peace with numbers. Just to get up each morning is to make a kind of peace.

Labels not only free us from the obligation to think creatively; they numb our sensibilities, our power to feel. During the Vietnam War, the phrase body count entered our vocabulary. It is an ambiguous phrase, inorganic, even faintly sporty. It distanced us from the painful reality of corpses, of dead, mutilated people.

I don't try to take a person out of our world and put them into my world; that wouldn't work. It's sort of like bad Photoshop: If you see something Photoshopped together - and even if it's done pretty well - the eye catches on it. That happens a lot when people try to cut and paste people from our world into their fourteenth-century historical romance novel.

I have no desire to suffer twice, in reality and then in retrospect.