I wanted to create a heroine that was flawed. I wanted her to be a real person. She's selfish, she's childish, she's immature and because I'm doing a three-book arc I really played that up in the first book. I wanted the reader to be annoyed with her at times.
If you're playing any real person, live or dead, you certainly have a responsibility to produce that reputation in some way.
My dad's more three-dimensional than Opie Taylor or Richie Cunningham. He even has a temper! He's a real person. But some people are disappointed by that.
If you want to do your version, go off and write it. You bring your knowledge to it, and you can use that to shape it and color it, but it's someone else's version of that character. You're not actually playing the real person.
You can never connect on a deeper level if you idolise someone - you don't see the real person.
Jesus was lonely and sorrowful and scared-an unbelievably real person.
The isolated individual is not a real person. A real person is one who lives in and for others. And the more personal relationships we form with others, the more we truly realize ourselves as persons. It has even been said that there can be no true person unless there are two, entering into communication with one another.
I say what I think. I'm a real person, not some manufactured pop tart who's afraid to step out of the hotel room. I am flawed. I swear, I have the occasional cocktail, I pick my nose and I fart. I'm not running for any presidential campaign at the moment. I'm a sassy girl.
I've never been that person to fake it, and say what everyone else wants you to say. Then you never have anything personal. If I wanted to be an actress all the time, I could do that. But I don't. I want to be real. I want to be a real person. That's what an artist is. An artist has to be honest. Without honesty, there's nothing.
You talk to people and they seem really nice and then you read what they write and it's very disillusioning. You have to deal with how people let you down in terms of that. Because I think I'm basically a nice person and I think I'm a real person, and a lot of people aren't.
I look around and see the things I have, and I remember not having them. That is one thing that keeps me grounded. I'm definitely the same person I was. . . . I never lose me, I never lose the real person.
To create a character who really interests you, try combining aspects of your favourite fictional character with a real person.
As a guy develops and practices his masculinity, he is accompanied by an invisible male chorus of all the other guys, who hiss orcheer as he attempts to approximate the masculine ideal, who push him to sacrifice more of his humanity for the sake of his masculinity, and who ridicule him when he holds back. The chorus is made up of all the guy's comrades and rivals, his buddies and bosses, his male ancestors and his male cultural heroes--and above all, his father, who may have been a real person in his life, or may have existed only as the myth of the man who got away.
The flimsy little protestations that mark the front gate of every novel, the solemn statements that any resemblance to real persons living or dead is entirely coincidental, are fraudulent every time. A writer has no other material to make his people from than the people of his experience ... The only thing the writer can do is to recombine parts, suppress some characterisitics and emphasize others, put two or three people into one fictional character, and pray the real-life prototypes won't sue.
If you're playing a fictional character, you can create a character, you can sort of take certain liberties. And when you're playing a real person who's actually standing there watching you, you know, it's - you do feel a weight. You know, you feel an obligation to not only be - to give the best performance that you can, but to make sure that you represent this person.
To me it is harder to play a real person, but when you do it and you feel good about it and the person feels good about it, I think that's doubly rewarding. So the challenge is greater, the risk is greater, but the reward is greater as well.
Most people are really nice but some stare, like you're some kind of zoo exhibit and not a real person with real feelings.
What makes American Elf so good is that it's incredibly personal and it runs the full spectrum from super-sickening sweetness to gut-wrenching terror and sorrow. It's a funny and powerful window into a real person's mind.
We can paint unrealistic pictures of the juggler--displaying her now as a problem-free paragon of glamour and now as a modern hag.Or we can see in the juggler a real person who strives to overcome the obstacles that nature and society put in her path and who does so with vigor and determination.
To recognize yourself in a character onscreen, and to connect with them, you gotta recognize their flaws; they gotta feel like a real person.
Sometimes when you're the good guy, you're sort of trapped. "Oh, he can't say that." And even when you're playing a real person like a Steven Biko, you're sort of stuck within those confines. So yeah, bad guys do have more fun.
The person is a mystery. What I'm playing is the person so I really get to tell you and show you and communicate to you who I think the real person is and that real person is me. The most important thing is to play the human being you are creating, which is my job.
The first item I designed for a real person was when I was about 10 and I made my first item of clothing for myself.
For me, there's always a huge attraction in playing real people. But with it comes an incredible sense of responsibility because you're playing a real person in a real event.
Real person. real name. I won't divulge too much, but it's not a fake name. And it's not a fake person. I guess that's the best answer I can say: It's not a fake name and it's not a fake person. But it's not her real name and it's not a real person either.
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