Psychological Realism Quotes

Ford Maddox Ford's 'The Good Soldier' is my favourite novel. I first read it in the 1950s and have read it about 20 times since. It's possibly the best-constructed book in the English language.

I was someone who was out of control and not to be worked with. It was partly because method acting was a new thing in Hollywood then and Marlon Brando had gotten through and Montgomery Clift had gotten through and James Dean but beyond that there wasn't really anybody.

I don't think people like to read about themselves or about others as they really are. It would be too horrifying.

Hemingway's short story 'Hills Like White Elephants' is a classic of its kind. It illustrates Hemingway's 'iceberg theory,' which requires that a story find its effectiveness by hiding more than it reveals.

Faulkner's 'As I Lay Dying' had an immense effect on me, and most of my novels bear the burn marks of this experience, those short chapters with their conflicting points of view, truth expressed by multiple perspectives. The other attractive thing about 'As I Lay Dying' was the way it gave rich voices to the poor.

I don't think that I would ever, while writing, think to myself, "I need a little more psychological realism."

The work of Henry James has always seemed divisible by a simple dynastic arrangement into three reigns: James I, James II, and the Old Pretender.

I believe strongly that characters are five-dimensional, and they're complicated, and life is complicated, and people are complicated.

David Cronenberg knows what we actors do as artists.

I am drawn, as a reader, to detail-drenched stories about human lives affected as much by the internal as by the external, the kind of fiction that Jane Smiley nicely describes as 'first and foremost about how individuals fit, or don't fit, into their social worlds.'

Because there is actually something very interesting in Goodfellas, how the style of the film changes as time goes by and based on the mental state of the protagonist.

This is sort of inflection-free acting [playing Maigret], and I really wasn't sure if I could do it - you make your mind up on whether I've succeeded or not. But yes, I found it difficult when we were shooting; it was a couple of weeks before I settled into not worrying - to finding a way of delivering those lines - so my worries of many months before I think had been justified. I found it a difficult way of being.

I'd love to do a movie like 'The Machinist.' It's an extreme movie but it takes you to a place that is quite impressive.

Some people think that acting's about being somebody else and I don't. I think this is how I would be given the same circumstances. And I do it for my own enjoyment.

'Ida' doesn't set out to explain history. That's not what it's about. The story is focused on very concrete and complex characters who are full of humanity with all its paradoxes. They're not pawns used to illustrate some version of history or an ideology.

I'm not that complicated as an actor. I have a formula in which I work, yeah. But not like Sean Penn does. Sean is one of the few actors I know who can work like that, actually becoming the character he is playing, and get consistent results. I don't believe you can ever be someone else. You manifest different levels of your own personality to come up with a character.

When I saw the movie 'Black Swan,' I liked the darker aspect of it, the more dramatics, and that's what I like to do for my programs.

The worldview implied by literary fiction is complex and ambiguous, trying to be faithful to the complexity and ambiguity of life.

Virginia Woolf's literature really transformed my own ideas about how to formally represent the passage of time and how time affects us. Specifically, the benchmarks are 'Mrs. Dalloway,' 'To the Lighthouse' and 'Orlando,' all of which have time as a central conceit.

I think Shakespeare really got it. He was the first one to introduce psychology to villains and give them a real point of view.

The stoic drama 'A Somewhat Gentle Man' is photographed in a palate of steel gray tones that match Stellan Skarsgard's complexion. It's a low-blood-pressure version of the kind of thing James M. Cain used to do in his sleep, and its filmmaking accomplishment is as minimalist as its narrative ambition is minimal.

The notion that acting is simply about intuitively responding to situations the way you feel couldn't be farther away from how I ask actors to work.

I remember thinking, when I was playing Hedda Gabler, that several sequences of the play were utterly absurd.

In a general way, the literature of the twentieth century is essentially psychological; and psychology consists of describing states of the soul by displaying them all on the same plane, without any discrimination of value, as though good and evil were external to them, as though the effort toward the good could be absent at any moment from the thought of any man.

I do the best I can - I know my way around [Russian method acting pioneer] Stanislavski, but I can't take myself seriously like that. I respect people who do it, of course. I just think I'm lucky to still be working at 73. You reach a point in life where you just think, "Show up, do your job, make sure the cheque's on the way," and that's it. I'm not hungry to do anything more, really.