Charlie Kaufman Quotes

I think, as most people are, I'm fascinated with love, relationships, and my daily life so I'm very inclined to make films about those things.

I think that's why Meryl Streep is working so much, because she looks like a woman we can all relate to. I look at her and I think, 'I'm chasing my kids, I've moved my parents in with me, I'm coping with food spills - that looks like me in real life'. Meryl looks like an unmade bed, and that's what I look like. To me, that looks true.

I don't watch like Sci-fi or things like that, I'm always more like real life is so endlessly fascinating to me.

And all the while, I suppose," he thought, "real people were living somewhere, and real things happening to them.

No one goes to the toilet in novels. You'd think none of us had bladders.

I tend to avoid melodrama. I try to create very realistic settings and very realistic experiences and realistic responses to these experiences. Melodrama is the use of really big events that may or may not happen in real life - certainly they do, but they're not events that are common to most people. Most of the things that happen in my novels are things that could happen to people in real life.

The ones I love most are the people who the flaws show. I like doing characters that we see the total person. If people get afraid to show the flaws because they think, "Oh, then nobody will like them," then you end up with a lot of products, and everybody wants to be frigging heroic all the time - not what people are trapped in every day, like your skirt being in your panties after you walk out of the bathroom. Being human. Sometimes when people are drawn to your work, they're drawn because they recognize themselves or their loved ones or their neighbor in it.

In real life people fart, in the movies, people don't. Why not? Farts are a repressed minority. The mouth gets to say all kinds of things, but the other place is supposed to keep quiet. But maybe our lower colons have something interesting to say. Maybe we should listen to them. Farts are human, more human than a lot of people I know. I think we should bring them out of the water closet and into the parlor.

I think people relate to the music because I have a sense of empathy, and I think I have a good understanding about relationships, and I talk about them in a real, honest way

I want my fiction to feel real most of the time, so it makes sense to pay attention to life and to how people work.

I also listened to hours and hours and hours and hours and hours of [J.F.] Kennedy, and I sort of built [ accent]. And then I got on set [of 'J.F.Kennedy' movie ] and forgot it.But that's what you want to do. You want it to just be real. And I think authenticity was better than - people always talk about when an accent doesn't work, and the phrase you always hear is, "It was inconsistent."

I want people to know that I'm a real person, and that I've been through normal situations, like crushes and heartbreaks.

I love shooting with real things in the real world. I think it gives a level of drama, performance, and everything seems to rise to the occasion.

In art as in politics we must deal with people as they are not as we wish them to be. Only by working with the real can you get closer to the ideal.

I might tell a story about somebody else, but I don't sit there and do a story about somebody snitching on me selling coke because people know I didn't sell coke. So I just try to keep it real but still try to do it in a creative way.

I'm inspired by anything. Not even just art, just anything that's real and vulnerable.

A lot of times, writers are told write as big as you can, and that's not untrue. But at times I think it's better to write as small as you can, to start scenes with little personal details or people who are doing average every day human things. That, to me, lets the average reader into that person's life. "Yeah I eat breakfast. I take a shower."

Everybody is trying to make something real, something with a core of substance, and of course, an exciting action movie with a lot of terrific stuff and fantastic visuals and everything, but at the core of it, it's a movie with substance and something that is going to make people think.

But work that's got real substance does make people feel, "There's someone else out there who relates to my experience, or who just helped me understand my own experience a little bit better." And I think that's still got enormous value.

A lot of improvisation ends up being about just thinking outside of the box in the scene. It's not improvisation as much as it is quickness or making it real.

I am a director and I think actually they're not that different - dramas and docs aren't that different. When I'm doing a drama I'm trying to make things feel as believable and real as possible. The hair, the make-up, the costume, the design, you're trying to make it authentic. And when you've got a documentary it's all authentic, so what story are you going to tell and how do you make it dramatic and exciting? It's the same thing.

If I took perfect pictures all the time, the people standing in the room with me, or on the carpet, would think, 'What an actress! What a faker!' That thought embarrasses me so much that I look like s**t in half my photos, and I don't give a f***. What matters to me is that the people in the room leave and say, 'She was cool. She had a good time. She was honest.'

Life is lived in real places, and I shoot in real places.

Keep it real by being straight forward. Don't pull no punches on people. It's better to tell somebody than just lollygag around, letting them think they're living their life the right way. Because some people don't know what the hell they're doing, they don't know if they're living the right way or making the right decisions. Some people don't know that.

I think people are people and if their feelings are real and truthful, they can connect.