When my father died, I had a real experience with Christ, a real conversion with Christ and I had it in a Oneness church.
I have a kid and a husband and my family, and it's important to live the real life. I don't want to offer my whole life to cinema. It's only cinema.
I decided that it's either, you know, if I want to have children, have a family and - and live a long life, I've got to make some real, real serious changes.
No offense to Bushwick, where all my neighbors greeted me on the street and there is a growing arts community and a curious beauty to its industrial zone, but Bushwick is no Williamsburg, even if the real estate agents would have you believe it is.
My father started his own business, and before that was a freelance lecturer, and my friends are artists and musicians; they don't have real jobs - none of us have real jobs.
When you make that crossover from life to real life, when you're not treated as a child anymore but as a man, and you are no longer given the benefit of the doubt, it takes some courage to face that.
The real pride, the real present, is your health and your longevity. My whole career, I have never done anything where competition was involved with weight loss.
I'm a deeply boring person in real life; I don't do any drinking and going out until four in the morning. I'll usually head straight home for a cup of tea.
Kids often ask me if characters are real or made up - and I always tell them, 'I hope they're real but I made them up.'
Imagination is always the fabric of social life and the dynamic of history. The influence of real needs and compulsions, of real interests and materials, is indirect because the crowd is never conscious of it.
A work of fiction is conceived very much the same way as a dream occurs in the mind of a sleeper. But a lot of it is imagination. It's not based on real people.
Some music comes from a real place; some music comes from your imagination. It's difficult to find out what's real and what's not, especially with the gangster stuff.
And my real enemy is not to hold the specimen sterile, but it's the lighting. The light is our real enemy. So we have to work with very very poor lighting. But we can increase the light with computers.
The idea that maybe you don't have to own a car if you only need one occasionally may catch on, just like time-sharing caught on in real estate.
At the core, I try to write characters who are real people with real insecurities, fears, hopes, and dreams, which is why hopefully readers can identify with them.
Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.
People who aren't complicated in real life come through as pretty bland on the screen. Most great performers are not very happy and well adjusted. Perhaps that's the price they pay for being originals.
There's a picture of Christopher and the real Ken Titus and myself in my dressing room. He's a great guy, by the way. I just think the real Ken is just super. And he's so happy for his son's success.
To write a good song, an artist has to drawn from reality. There has to be some spark from realism that communicates a real feeling to someone else. You have to be real. Or you have to be a really good storyteller.
I think that fame only goes to your head if you are not a real artist. If you are a real artist and a good person who loves what they are doing, you are going to be the same person.
In real love you want the other person's good. In romantic love, you want the other person.
