Realistic Setting Quotes

I don't think I could set a book in a place without knowing it really well.

I want content that is relevant to my life, that is relevant to me, that is set in the real world.

Creating a really believable world is just insanely hard

I wanted to set 'Heading Out' in a real world, a concept I originally struggled with, as I don't have a proper job.

It's that I don't like white paper backgrounds. A woman does not live in front of white paper. She lives on the street, in a motor car, in a hotel room.

Hopefully, any character I play has an anchor in reality. The more fantastical characters, or fantastical worlds that they inhabit are really fun and allow you, in some ways, to tell stories and reveal things about our lives that would be harder to take, in a more realistic setting.

It's a different thing shooting for 10 weeks in India as opposed to on a set on stage pretending you're in India.

I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.

I'm a big believer in practical and location photography.

Everything in a story should be credible.

In my opinion, it's more interesting to see magic happening in a world that feels grounded. If the world is already crazy, then anything can happen. So it's better to start with something real.

'Slumdog Millionaire' is a fairy tale, but it starts in a place you really believe, and that came from spending two months wandering around the slums picking up stories and talking to people.

I think that being in an environment is a much richer experience than just working on a soundstage.

Creating a believable world on the ship was very important, and technically they got better and better and better at showing the ship too.

Sometimes you see films, not just science fiction films, where you get the sense that if the camera were to pan just to the left or the right, all of a sudden you'd be seeing light stands and crew standing around. But with 'Blade Runner,' the beauty of it is that it felt like a real, breathing city.

So many times, shows say they're set somewhere - like in Chicago, 'The Good Wife' - but it doesn't feel like Chicago.

I don't like cartoons that take place in Nowhereville. I like cartoons where I know where they're happening.

'Line of Duty' is a social realist drama, so it's set in a world that has the recognisable features of the authentic world we see around us.

'Southland' is very real; it's not about who found the hair in the bed. There are procedural aspects to it, but it's not about that.

I want characters I can live for in a setting that makes me feel like I'm there.

I think for the disaster to work and the drama to work, you really need to feel like you're really in that world.

You ask any actor - they'll tell you they'd rather shoot on location because you don't have to invent the energy, the energy is there.

In my works, the geography map-wise is accurate - roads are where I say they are, and go from this town to the next as I say they do, and yes, it would take a curricle that long to travel that distance.