A Quote by Michael Winterbottom
I prefer to take actors and put them in real settings and real locations and real situations rather than create artificial locations that serve the characters. It's just much easier when you are walking down the street with your actors to do that in a real street that's still open with people on it, rather than to close it off and bring in extras.
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I always find the more you can draw on real life characters, people, situations, it works better. Certainly for designing a character, I prefer to draw on real people rather than other guys I've seen in movies, rather than 'here's my version of Clint Eastwood' or whoever.
I made a tremendous amount of money on real estate. I'll take real
estate rather than go to Wall Street and get 2.8 percent.
My own personal aesthetic is all to do with real actors and real locations and a kind of almost hyper reality and actuality to things. But the digital world, I explore that through other mediums, with music videos and commercials. Even 'The Road' was a real learning curve for me with digital effects.
I made a tremendous amount of money on real estate. I'll take real estate rather than go to Wall Street and get 2.8 percent. Forget about it.
Actors are the most important. Performance is what matters. Nothing matters more than the actors; they have to perform. No one else can give life to the characters. Audiences must believe the characters as real and the moments as real.
When we start shooting I don't have rehearsals with characters at all. So, rather than pulling them towards myself, I travel closer to them; it's very much closer to the real person than anything I try to create. So I give them something but I also take from them.
I'm all about real drama, real performance, and real people, so my twist on this is: I'm creating a family, a brotherhood here. I'm creating a very real chemistry and I have this incredible ensemble of actors led by Will Smith, who are basically playing dimensional characters with lives and souls.
Ultimately, all I wanted was for players to feel like they were in the real world. I wanted them to be able to apply real world common sense to the problems confronting them, and I thought recreating real world locations would encourage that kind of thinking. There's also just a real power, a real thrill, when you fire up a game and see a place you've been or want to go, and then get to do all the stuff you WANT to do there but know you'll get arrested if you try! If that isn't the stuff of fantasy - far more than exploring some goofy dwarven mine or alien spaceship - I don't know what is!
I realize I have a lot of amazing opportunities, but I don't know how you can play a human being going through real human experiences without being able to walk down the street. If you can't live a real life, how do you play a real person? It always confuses me when actors work back-to-back-to-back with no break. If you live your life on a film set, how the hell can you relate to real people? You don't know what its like to not have people fussing over you all day, and that's not life - that's silly movies. I will always want to take breaks and I wouldn't be OK with losing that.
If beef is your idea of 'real food for real people', you'd better live real close to a real good hospital.
If beef is your idea of 'real food for real people,' you'd better live real close to a real good hospital.
You put on a face for the public. The face isn't false; it's just another side of you. If it were false, you couldn't last. People want something real and natural, and if they catch you acting, you're dead. It has to look real. In order to look real, it has to be real, and I've always thought of the characters I've played as real people.
What I really do is take real plums and put them in an imaginary cake. If you're interested in the cake, you get rather annoyed with people saying what species the real plum was.
I'm trying to do something real different; I'm trying to bring the street to real pop. I'm trying to bring the street to pop. Not watering it down, no nothing.
One of the reasons why good actors are good is that they have poor impulse control. If you put them in front of a camera, they respond as if it was actually happening, in real time, rather than doing it after several takes.
We had a few calls saying election precincts had closed early. But it turned out that the callers were in the wrong places. Some people went to the old locations of a church, rather than the new one. We called the polling locations as well as the church pastor and they verified they were still open.
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