I have a split - of my real home-life side that's real-life, and then the creative side that is not necessarily real-life, but it intersects my real-life so much.
I draw in my sleep (dream of drawing) a lot. I don't think I have ever drawn anything in real life while I was sleeping, though. I do keep a pad near my bed, just in case.
I liked the push and pull of that, between the outer political world and the inner personal lives of the characters. It's also real life... Many of us are keenly aware of world events, but break your nose and I bet that's the main thing you'd be focused on.
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.
We overload in our workouts so that the game slows down in real life. It helps you become a smarter basketball player.
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 am quite a positive man in real life. In fact, even when I have a hard discussion with somebody, it lasts only five minutes. Then I forget. And I forgive everything. But at the same time, as I am such an easygoing guy, to create something more intense, I have to be auto-destructive on the making of a film. And this will guarantee some density.
And what they believe in real life is complicated. Theodor Koch-Grunberg wrote in his diary that indigenous peoples in the Amazon see these outsiders following in each other's footsteps as the same person, a single soul traversing across several lives. They also see time as something that doesn't proceed inexorably into the future.
We actually needed the memory - if you see the film - as a very different kind of a plot device of revealing some information to our main character. So we chose to represent it as these sort of beautiful little snow globes, which kind of, weirdly, that's the way we think of memories - at least, most of the folks that we talked to. You think of these memories as being very pure and absolute and unchanging. That's not actually real life.
I think "honest" sometimes gets used to describe a real depiction of real life. I don't think that's necessarily what we're doing. We created these fake characters and we're just trying to figure out what they would do in situations they enter into.
Hollywood has nothing to do with real life.
When I went home, my family became a little lonely family because it was just me and my mom. Part of my longing to go back to work was wanting to be surrounded by these people who were teaching me things and drinking bad coffee at three in the morning while we were lying around in a bikini in the winter. Somehow it just felt like real life. It felt more like real life than my life.
I have never played a superhero in real life and I would imagine it is very different Voiceover is super easy. You just come in and do a bunch of versions of it and then the animators and directors on that side of the movie put your performance together.
I'm a very boring person in my real life so I got to act out misbehaving fantasies was really fun.
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.
I think that'll always be there for [Clint] Barton, right? You have real life, and then you have fight life. And that's the character that I love now - discovering that in him makes him a very sort of accessible Avenger. That'll always be there, I'm sure. And it certainly plays in this one.
I always felt strongly connected to the region where I was born. But after leaving school, the only clear thought I had about my life was to leave this provincial area and go to places where real life was happening.
When somebody is doing something really funny, in real life and as a performer, my instinct is to join them.
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.
I always knew I wanted to write really imaginative fiction - fiction that was very different from my real life.
It's like the iPod playlist has killed the way we think of the normal album, so let's think of this as just saying you go into your record store and all those categories and all those different ways of segregating music have been thrown out the window, so the difference between myself in real life in that is that I'm the opposite.
I feel the most connected to my art when it comes from my real life and hopefully the audience feels that.
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.
In real life, I'm afraid of heights - and people who get moral convictions... Adolf Hitler in London.
There is always this thing of will you get too old for your part? But people are playing a lot younger than they actually are in real life. I don't think it's as big an issue as a lot of people are making it out to be.
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