People are different in different situations and people are different online than they are in real life.
I'm really not trying to do everything that comes to mind because that's when it can be dangerous. For instance, I believe as much as possible, how your camera moves and flies around should be limited to the physics of how you could do it in real life.
If we ever meet in real life, we can have a conversation. But you should go and live your real life and I'll go and live mine.
I like [that] there's a certain inherent drama to those jobs that is exciting to tell stories about and it's still real life. I'm a little less interested in the current fad of being obsessed with superheroes and things that are so out of the box.
Decorating is a footnote to real life for me, a means to an end: Living well.
The two explorers are given fictional names. But as in real life, they travel to the Amazon roughly a generation apart, in the early-to-mid 20th century. In the film, they're both guided by Karamakate, as a young man early in the story and later as an old shaman. He and the outsiders share a desire for knowledge - self knowledge and an understanding of the world around them, says the film's co-screenwriter, Jacques Toulemonde.
It is a surreal life living on a television series set, and especially when I go out in public. I have people who recognize me and will come up to me, saying how much they enjoy seeing me, asking for a picture, and I still think to myself, "Uh, why?"
I stay with my family. I try to be a good husband and good dad. That's my real life.
Hollywood has nothing to do with real life.
I knew it was a risk but what I was after was a novel that is about the feeling that comes with a coincidence in real life - that you feel as if something divine has intervened and has arrived with a message.
In real life, people in the most dire situations must cope through humor.
It's a piece that is so interactive, and relies so much on these five men in the room, that I think will appeal to the life experiences every person has, in some small way. Every aspect of the play will in some way touch somebody or they'll know someone that has a likeness... very representative of real life.
The stage is the place I feel comfortable - it's almost as if real life is where I feel most nervous. Conversations are a lot more nerve-wracking.
Every game we play activates our brain, and it's the same brain we have in real life as we have in the game.
The big thing is it's a domestic drama. Everything else in science fiction tends to be high-concept. Really for the last 40 years or so I think sci-fi's been a little cold and a little inhuman quite often - certainly since the 1980s - and I really wanted to do something that almost felt like a regular, real-life drama but just set it in a sci-fi setting. I think the best stuff is always like that.
What I do with everything is take things out of real life. You encounter all sorts of stories. It's a lot of your friends and family, sometimes there's quite sad episodes in their life and everything. So just little things I've picked up along the years always find a way into all of my stories.
It was good but it was just a tiny bit uncomfortable because it was a day of lying in the bushes and I think I got a major muscle thing going on there! But it was good. It was fun. That is one of the things you get to do in film that you don't do, or that I don't do, in real life. I can't speak for Dermot [Mulroney]! But it was fun.
Because there's no accountability on line in the same way there is in real life, all of a sudden you can say like, yeah, I hate women; I want to kill women. And you can say that online, and not only will you find a place to say it, but you'll find a place to say it where people are like, yeah, me too.
And there's also not enough films that are more of a imitation of what real life looks like.
Who are the executives, and what are the stories that are being released? Not just in movie theaters but online. When you watch Master of None, you're like, yes, this is real life to me. These are refreshing types of stories.
I often wonder if there are certain areas of real life that are roped off, with a sign saying, "Art, don't come in here." But that's maybe a deeper question.
I've had that situation where I start writing somebody really miserable, and in order to make the story come alive, I have to give them a vote of confidence, make him vulnerable or wounded. But in real life, you often meet people who, in that particular moment, actually shouldn't get a vote of confidence.
In real life, when someone's partner calls them, they can tell from the first word their partner says what their mood is.
I write about relationships and I try to create real-life characters.
Online is online. It's a whole other world. It's not actually real life.
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