John Kricfalusi Quotes

I think part of that is to create an environment where it's like real life, where you don't really know what's going to happen to you in a certain scene.

Strong and in control - I don't necessarily feel that way. I'm a little bit more scattered in my life. I'm more of a street girl, in a way.

Perfect is very boring, and if you happen to have a different look, that's a celebration of human nature, I think. If we were all symmetrical and perfect, life would be very dull.

It's good to stay as close to real life as you can, and then kind of dress it up.

To have someone who never makes a mistake, never finds her personal life in disarray, never worries about work-life balance? I think that would be unreal. What I'm writing is real.

Scripts are corny and predictable. Real life is always better.

I love to do things that kind of mess with the movie formula that you can always find the right place to park; you've always got a phone signal. And I think audiences really respond to the limitations of real life when they intrude on drama.

Life isn't always really glamorous and fabulous. It's about encouraging people to go back to natural beauty.

In real life we don't know what's going to happen next. So how can you be that way on a stage? Being alive to the possibility of not knowing exactly how everything is going to happen next - if you can find places to have that happen onstage, it can resonate with an experience of living.

Perfection is boring. If a face doesn't have mistakes, it's nothing.

I'm interested in people that don't always do the right thing, its much more akin to what I know about life.

It's pretty simple to me: we come from a really grounded world where anything you say could be the thing that the scene becomes about. We're always treating it as if we would treat it in real life. It's all observation.

I adopt a very simple approach. I observe and reflect real life and ordinary people and sooner or later that raises a laugh.

I tend to play more true-to-life characters in real situations.

I don't really like heroes who always behave heroically. That's not interesting to me.

I don't like a man to be too efficient. He's likely to be not human enough.

I want to try and portray characters that are in real life, that you see day-to-day. If I were to just stay in my little village in Wales, I would have gotten a very small taste of a very big plate.

On movies, you have a lot of stylists that get things too pretty. Everything gets steamed and ironed. It's just not the way we really behave.

In my mind, everything is too sanitised on television - what is wrong with things going wrong?

I don't really do simple. I'm not really interested in simple at the end of the day, because nothing's ever simple, and nothing's ever perfect. People certainly aren't - I would hope, anyway, because that would be boring, wouldn't it?

The detail adds an element of unexpected something. All fiction is false; what makes it convincing is that it runs alongside the truth. The real world has lots of incidental details, so a painting also has to have that element of imperfection and irregularity, those incidental details.

Out of the crooked timber of humanity no straight thing can ever be made.

Out of timber so crooked as that from which man is made nothing entirely straight can be carved.

On 'Silver Linings Playbook,' David O. Russell is the master at getting his actors to give him something that he doesn't expect. He loves to keep things spontaneous. He talks to the actors throughout a take because, in real life, you don't know what the next person is going to say; you don't know when you're going to get interrupted.

The only way to make a scene realistic is to do it the way you know it would really happen.