Plastic surgery and breast implants are fine for people who want that, if it makes them feel better about who they are. But, it makes these people, actors especially, fantasy figures for a fantasy world. Acting is about being real being honest.
Back in the day, we ate fresh; our parents cooked. Now, we're starting to think things are fresh because they're in a can, they're in a box, or they're frozen. That's not fresh. It's difficult to get real fresh.
I would never make up a character who didn't exist or an event that didn't transpire. If you're a real writer, you have other tools in your toolbox to build drama.
In the early days all I hoped was to make a living out of what I did best. But, since there’s no real market for masturbation I had to fall back on my bass playing abilities.
We're wired to expect the world to be brighter and more meaningful and more obviously interesting than it actually is. And when we realize that it isn't, we start looking around for the real world.
Well it seems to me, that all real communities grow out of a shared confrontation with survival. Communities are not produced by sentiment or mere goodwill. They grow out of a shared struggle. Our situation in the desert is an incubator for community...
Would you dare to reach inside the vault of a feral heart? Glare into the keyhole, eyes bound with intrigue...is it real what we perceive? or does the absent colour leave you lost or decieved?
We give you this story. It is for the audience to be moved and gut wrenched, not us. It isn't as if we don't go through those real feeling and it isn't as if I don't cry three or four times a night. I usually do.
And I tell my audience, you know, give the real stars a round of applause. Because without them I'm nobody. So I learned so much from people like that.
They don't actually see the real world, where 95% of the people with HIV are not treated and are dying. And even though we have some blue sky now in our country, the sky could become cloudy again very soon.
Well, I think I've made 44 films and only like four times I've played real characters I'm just drawn to people who have a pioneer spirit, this extraordinary energy and commitment to their cause.
My first real acting job was 'Skins' at eighteen years old, and I just kind of grew into myself in those two years; I would have done terribly if I'd have got that job at sixteen.
To learn how to do, we need something real to focus on — not a task assigned by someone else, but something we want to create, something we want to understand. Not an empty exercise but a meaningful, self-chosen undertaking.
As someone who's been doing a lot of classical theater recently, I loved the idea of getting to run around in Steven Alan, and not be in a corset and a wig, and not have a dialect, and get to be in a 90-minute play with no intermission, and get to do...
Dialogue is the place that books are most alive and forge the most direct connection with readers. It is also where we as writers discover our characters and allow them to become real.
Having long suspected that there was something alive in there, running the place, separate from everything else, absolutely individual and independent, we've celebrated by giving it a real name. My self.
When you're playing a real character, you want to honor that person and receive inspiration from that person. They need to anoint you in some way that allows you to borrow just a small piece of their soul. That is the flame.
But there was another class of people, the real people. To this class they all belonged, and in it the great thing was to be elegant, generous, plucky, gay, to abandon oneself without a blush to every passion, and to laugh at everything else.
I believe Johnson understood that the reason was Vietnam. I also believe that he felt that if there was a way to communicate the real issues in Vietnam, that the reasons would be answered or understood. But there was just no way to communicate.
The real things haven't changed. It is still best to be honest and truthful; to make the most of what we have; to be happy with simple pleasures; and have courage when things go wrong.
All of the courses that run through real streets are very demanding. There is no room for error, no shoulders to lean on. If you go off the road, you're into somebody's shop-window or front porch.
