A Quote by Karl Ove Knausgard
When I wrote my fictional novels, they always had a starting point of something real. Those images that are not real are exactly the same strength and power of the real ones, and the line between them is completely blurred.
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I wrote about real people and real circumstances and real neighborhoods. There was no crypt or castles or H.P. Lovecraft-type environments. They were just about normal people who had something bizarre happening to them in the neighborhood.
Reality TV now doesn't feel reality TV when it started. The line between reality and fiction is blurred. So many of these people are phony or shallow, in their own right. If you've ever watched any of The Real Housewives, or those types of shows, they're all performing. Even though they're real people, they're performing.
Soft things are terrifying. They're the real signals of death. Images of strength can never be that terrifying. It's the images of weakness that are a real apocalypse.
If you put a real leaf and a silk leaf side by side, you'll see something of the difference between Homer's poetry and anyone else's. There seem to be real leaves still alive in the 'Iliad,' real animals, real people, real light attending everything.
If you put a real leaf and a silk leaf side by side, youll see something of the difference between Homers poetry and anyone elses. There seem to be real leaves still alive in the Iliad, real animals, real people, real light attending everything.
I understand that fictional men aren't real. Not 'really real'. I know this the same way I wonder if my readers are disappointed when they meet me.
[Adolf] Hitler succeeded once upon a time to conquer all the big powers within two or three years and occupied all Europe, North Africa, and arrived at the gates of Moscow. This is not the real power. Real power is something completely different.
For me, film-making is combining images and sounds of real things in an order that makes them effective. What I disapprove of is photographing things that are not real. Sets and actors are not real.
I'm continuously playing this game of what's real and what's not real, and having to balance and judge and realize that there are things that carry real weight in the world and actually have power in them. And there are things that are just pointless, and you don't have to pay attention to those things.
The real differences around the world today are not between Jews and Arabs; Protestants and Catholics; Muslims, Croats, and Serbs. The real differences are between those who embrace peace and those who would destroy it. Between those who look to the future and those who cling to the past. Between those who open their arms and those who are determined to clench their fists.
My approach is always the same. I try to be as honest as possible. Find the real honesty and humanity in the character because even a fictional character is supposed to feel real. And my job is to find that reality and bring it to the screen.
When you're training as an actor, a lot of the big work you're learning is to treat fictional characters like real people. You don't have the problem of discovering a backstory with real people, but there's always a mystery which is common to both fictional and factual characters. They are never quite the person you think they are.
Reading was not an escape for her, any more than it is for me. It was an aspect of direct experience. She distinguished, of course, between the fictional world and the real one, in which she had to prepare dinners and so on. Still, for us, the fictional world was an extension of the real, and in no way a substitute for it, or refuge from it. Any more than sleeping is a substitute for waking." (Jincy Willett)
You've got the people you know, which are problematic. Always. They're rich but they're also real people living their lives alongside you. Then you've got the people that you make-up completely, who are often missing a dimension if they don't have some reference to real people. So strangers exist in this in-between space, where in not knowing them, you are creating a fiction for them, even in passing, but at the same time, there they are, with their actual bodies and their actual clothes. It's totally enticing.
The dozens of people working on this at Digital Domain, they knew that you couldn't get away with almost photo real, because we had real real in the room. You have real real in the cut every four or five shots, so you have this constant yardstick built into the footage by virtue of there being no real robot there. So it became the standard of photo reality that the VFX team had to match.
I had to deal with it so often, I found ways of making a point against racism. When I played against Real Zaragoza, they chanted like monkeys and threw peanuts on the pitch. So when I scored, I danced in front of them like a monkey. When the same thing happened against Real Madrid, I scored and held my fist in a Black Power salute.
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