A Quote by Miguel Syjuco
We referenced fictional characters as if they were people to learn from. As if real-life people were too nebulous, too private and unreal for us to understand.
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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.
I believed in fictional characters as if they were a part of real life. Poetry was important, too. My parents had memorized poems from their days attending school in New York City and loved reciting them. We all enjoyed listening to these poems and to music as well.
If you will practice being fictional for a while, you will understand that fictional characters are sometimes more real than people with bodies and heartbeats.
People were telling me it was refreshing I was real because previous 'X Factor' winners were too afraid to say anything. I decided to go against the grain. But I took it too far.
I came from a tradition where souls were a theological reality, not a faith reality. Souls were for saving, not for communing. Souls were for converting and, once they were converted, they were to be left alone. Souls were too mystical, too subjective, too ambiguous, too risky, too... well, you know - New Age-ish.
Facebook succeeded because it was about real people having a presence on the Internet. There were all these other social networking sites people had, but they were all about fictional people.
I used to read reviews - I read a lot of the reviews when I did 'Borgen,' but the thing is, people were so harsh that I talked to my wife about it, and I said this is too tough - the people are too personal and too idiotic to understand it, in my mind.
Once I started getting mainstream people to my shows, I realized we were taking too many solos, and they were too long. I started gauging when people were going on their iPhones.
They were nothing like the French people I had imagined. If anything, they were too kind, too generous and too knowledgable in the fields of plumbing and electricity.
The real truth is that the war didn't have much to do with it except that it provided a perfect limbo in which two people who were too young and too related could start kissing without anything or anyone making us stop.
You can't have a novel without real, believable people, and once you get into either too theoretical a novel or too philosophical a novel, you get into the dangers that the French novel has discovered in the past 50 or 60 years. And you get into a sort of aridity. No, you have to have real, identifiable people to whom the reader reacts in a way as if they were real people.
One thing I think is least realistic is that there were five people that made decisions in the fictional 'West Wing.' In real life, there are about five million people that weigh in.
Our senses perceive no extreme. Too much sound deafens us; too much light dazzles us; too great distance or proximity hinders ourview. Too great length and too great brevity of discourse tends to obscurity; too much truth is paralyzing.... In short, extremes are for us as though they were not, and we are not within their notice. They escape us, or we them.
I was always cutting dialogue out when we were rehearsing, and when I produced movies, too. I felt that people don't say things in life - they act, they do things. I always wanted my characters doing, rather than saying what they were doing - which was redundant.
I have yet to meet someone who was successful who was even slightly negative. That comes from a muscle training. You can work on negativity and weed it out of your life. I've noticed that all of the people who acted as if they were going to be gone too soon, were gone too soon.
The newspaper stories were like dreams to us, bad dreams dreamt by others. How awful, we would say, and they were, but they were awful without being believable. They were too melodramatic, they had a dimension that was not the dimension of our lives. We were the people who were not in the papers. We lived in the blank white spaces at the edges of print. It gave us more freedom. We lived in the gaps between the stories.
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