A Quote by Arnel Pineda
I'm a very realistic person.
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I'm a very optimistic person, woman, mother and singer. And at the same time, I'm very realistic when I look at other aspects of my life.
It is not realistic, maybe ... but art doesn't have to be realistic. Romeo and Juliet is not realistic, but it is true... it shows the essence of falling in love.
I don't really have a realistic life. Anyway, I am a schizophrenic so there two persons in me. Because I am the person I put on for the public and the person that I am really . . . deep inside me. So I have to cover it all up with . . . glamour and all that bullshit . . . make-up . . . glamour, dresses, color, etc., etc. . . . trying to hide a very . . . fragile person, really . . . very vulnerable to attack.
I like 'Brawl in Cell Block 99.' I think Vince Vaughn is incredible and I've never seen Don Johnson like that. It is very realistic. Some people say it is a horror film. It is not a horror film at all. It is very realistic.
I'm a realistic person, but I'm also a person who believes a lot in goals.
I tend to avoid melodrama. I try to create very realistic settings and very realistic experiences and realistic responses to these experiences. Melodrama is the use of really big events that may or may not happen in real life - certainly they do, but they're not events that are common to most people. Most of the things that happen in my novels are things that could happen to people in real life.
I don't always want to play the wacky, crazy parts. I love having the opportunity to play a regular person in an irregular situation in a very realistic way.
I just think it would be unrealistic to suggest we're going to eliminate every last domestic insurgent in Afghanistan. Certainly, the history of the country would indicate that's not a very realistic objective, and I think we have to have realistic objectives.
I'm not able to completely escape naturalism. It's very difficult to escape from naturalism without being too dry. That's what I try to do in my cinema - escape naturalism and do films that are, at the same time, realistic but have a lot of fantasy. It's very difficult in cinema to get away from what life is about, from real life. The way the actors work has to be realistic - you can't do Baroque acting - so it's very complicated. And, we're human beings, so we're not perfect. I'm trying to do something different.
I'm a pretty skeptical person, and I'm a realistic person.
You have to be realistic in the use of blood in the movies. There is a little bit more than a gallon in a human being. If you have a few thousand people, that makes a lot of blood. I'm very realistic in my use of blood.
I'm quite a dreamy person but I'm also very realistic about my possibilities, so if this was meant to remain a hobby I would have kept it as that. But I feel like music goes in waves and when you get an upward swing, you have to push it as far as you can.
I found that I could write two kinds of short stories: I could write very absurd, kind of surrealistic, funny stories; or I could write very dark, realistic - hyper-realistic - stories. I was never happy with that, because I couldn't meld the two.
When you're dealing with a symbol in a realistic play, it is also a realistic fact. You must expect the audience's mind to work on both levels, symbolically and realistically. But we're trained so much in pure, realistic theater that it's difficult for us to handle things on two levels at the same time.
I think my movies aren't sentimental. I think my movies are funny and sad and realistic. Not realistic in the sense that they're documentaries, but realistic in the sense that they're not idealistic, they're not optimistic, not pessimistic, and not propagandistic. They're an analysis of a situation. I call it as I see it, so to speak.
Being realistic is the most commonly traveled road to mediocrity. Why would you be realistic? What's the point of being realistic? I'm going to do it. It's done. It's already done. The second I decide it's done, it's already done.
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