A Quote by Vin Diesel

It was interesting to do a completely fictional piece. You know, Saving Private Ryan was not a fictional piece! So the challenge was: How do you incorporate real emotions? How do you incorporate aspects that people are going to be able to identify with?
When I first heard the 'Urumi' script, I was surprised, shocked, and excited. It was a strong script with a reference to the past. It had fact mixed with fiction. To incorporate facts into a film and introduce fictional characters was interesting. I loved the script.
My fiction-writing DNA shows in how I think about prose, how I think about the page, how I think nonfiction stories should work. And every piece of nonfiction I write, I want it to have fictional texture.
It goes without saying that all of the people, living, dead, and otherwise, in this story are fictional or used in a fictional context. Only the gods are real.
How can I tell Bob that my happiness streams from having wrenched a piece out of my life, a piece of hurt and beauty, and transformed it to typewritten words on paper? How can he know I am justifying my life, my keen emotions, my feeling, by turning it into print?
I didn't know how to pass a major piece of legislation; I didn't know how to get colleagues to support my views. It took a lot of asking for advice and learning. One of the lessons is that you have to be able to tell people why you care, and you're only going to be able to do that if you talk to someone whom an issue is affecting.
If people ever look down upon you for crying for fictional characters, you should give them a gentle, pitying look and feel bad for them. If they've never cried for a fictional character, then they've never loved one (and what a joy that is). If they've never cried at a book, a movie, a piece of music, then they've missed one of the great pleasures life has to offer. Just because fiction does not contain things that are real doesn't mean it doesn't contain truth, and we find it through the alchemy of our tears.
I don't think there is a fictional character who resembles me because fictional characters are not real!
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.
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.
If I'm not in an environment where I can record, it's great to be able to write something down, to be able to know how to do that, to be able to write notation. You grab a piece of paper and there it is. It's the cheapest recording equipment you can buy: a piece of manuscript paper and a pencil!
I think Visions of Cody is the most radical book in terms of poetic stretch and the way Jack Kerouac is able to incorporate documentation and incorporate the live tape recording of Neal and so on.
I wrote a piece of software in 1998 that created fictional weather.
Consider: if you incorporate those tropical countries with the Republic of the United States, you will have to incorporate their people too.
I love it when real science finds a home in a fictional setting, where you take some real core idea of science and weave it through a fictional narrative in order to bring it to life, the way stories can. That's my favorite thing.
People ask, like, 'How are you going to incorporate what you do onstage into everything else?' I'm not too worried about that. Whether it's theater or a TV show idea, or an animated thing or, I don't know, an animated screensaver. I really just want to keep creating things. And I've always been able to do that.
It's more difficult playing a real-life person than a fictional character - you can go easy on yourself with a fictional character.
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