Emotional Realism Quotes

Coen brothers movies are not always what life looks like but it's definitely what life feels like.

You don't get music in your daily life, do you? Even in a movie, it's unnatural to have music. I always feel it's unnatural. But I want to make it not unnatural, to construct reality in another sense.

I feel really comfortable with going for the reality of the drama, but I'm not much for the comedy of it. You have to make people laugh, or you have to be true to the character in such a way that makes people laugh. It's a whole different thing.

If people cannot be flawed in fiction there's no place left for us to be human.

I've had good times and bad times. That's me. That's how I am.

Besides, Rose Bradwardine, beautiful and amiable as we have described her, had not precisely the sort of beauty or merit which captivates a romantic imagination in early youth. She was too frank, too confiding, too kind; amiable qualities, undoubtedly, but destructive of the marvellous, with which a youth of imagination delights to dress the empress of his affections.

I'm just not very good at being happy all the time.

I don't want my work to be heavy. The challenge is to make it interesting and engaging, keeping in mind the need for method acting. This is what I have learnt from Bharat Muni's 'Natya Shastra' and from the Russian theatre legend Stanislavsky.

I always thought realistic was a better way to explain things that were "dramedies" because life is like that. It's funny, it's dramatic and to me that's how I see it.

If I'm reading a script, and I'm not buying it, I need to be able to relate to the character on some level, and they need to have more than one dimension. I need to have an idea of what this guy's thinking about when he's taking a shower not on camera. And if I can't picture him taking a shower and getting dressed, then he's not a real person.

I think in the past, around the time that method acting became so prevalent, it used to be that American actors were thought to be the kind that would work more from the inside out, and that the English actors worked more from the outside in.

As a reader, I don't feel a story has an obligation to make me happy. I want stories to show me a bigger world than the one I know.

Within the mainstream cinema, I feel you can experiment and make sensible films. It's possible to tell a story with characters and emotions which are real, genuine, and which need not be over the top.

I'm always a bit wary when people say in interviews, 'I'm at the happiest place of my life that I've ever been.' I think, 'Really? Are you?' Life is a mix, isn't it?

I was born with a happy heart, and I try to keep a good attitude. It's not true that I'm happy all the time because nobody is, and we all go through our things.

Sometimes I feel that in religious content, religious drama, it's almost told like a tale, like an account of facts, and in 'A.D. The Bible Continues,' it's drama, it's real drama that we like to see on TV today, seeing the characters struggle and doubt and be completely in conflict with each other, kind of like 'House of Cards.'

I always suspend logic for emotion. If it feels real, or it feels like what I'm going for, we should abandon reality a little bit and go for that. I'm not a documentarian. We're not trying to shoot things for naturalism.

When you meet someone, of course you want it to last forever. It'd be very depressing if you didn't feel that way. But things change, and you maybe grow apart. You have to accept that.

Having been trained as a stage actor, and then you go out there and you're on 40,000 acres and you have a horse under you and you're shooting a real gun, you almost don't have to act. It's just really amazing.

It's not my fault I can't be like you, okay? I don't get up in the morning thinking the world is one big, shiny, happy place, okay? That's just not how I work. I don't think I can be fixed.

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.

I like to believe that my actors are not acting. That whatever they are doing, or whatever has been said, would happen in real life.

I think I have learned to really get out of the mathematical side of myself that looks at story and story structure and go with, "Okay, well, what would people do in real life?"

I think I take away a naturalistic approach to acting from doing 'The Larry Sanders Show,' a way to put aside acting and just exist in the world of what's being handed to me.

I've always felt that the writing I responded to most - the novels and stories that compelled me, that felt like they described the world I live in, with all of its subjectivity, irrationality, and paradox, were those which made free use of myths and symbols, fantastic occurences, florid metaphors, linguistic experiments, etcetera - to depict the experiences of relatively 'realistic' characters - on the level of their emotions and psychology, rather than in terms of what kinds of lives they led or what kind of events they experience.