A Quote by Jason Dohring
When you're being real, that's endearing to an audience. When you're not being real and you're making jumps to things that don't really follow how they would in reality, people don't appreciate that.
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Being an actor in movies is a lot about the power of your imagination and making the circumstance real to you so the audience will feel that it's real.
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.
All I'm doing is being authentic and real and singing about the emotions I go through as a human being. I don't think we should be nervous about expressing who we really are when it comes to being a believer but also when it comes to being someone who goes through real life. You have to experience real life before you can understand what it means to really worship.
I've been talking a lot about how music chooses you because you can pinpoint when you had the epiphany that, 'Wow, I really want to do this.' But there's no real rhyme or reason about choosing to be in this industry. It's one of those things where there is no real guarantee; there is no real rulebook to follow.
Most people look at a feature film and say, "It's just a movie." For me there is no border or wall between fiction and documentary filmmaking. In documentaries, you have to deal with real people and their real feelings - you are working with real laughter, happiness, sadness. To try to reflect the reality is not the same as reality itself. That's why I think that making a good documentary is much harder than making a good feature film.
In anything really, it's finding the reality. You can't be 'real,' but you can create a reality. And that created reality is what the audience believes in. And that's essential. Because if the audience doesn't believe that, they're never going to trust you. And if they don't trust you, you can't lead them up the mountain.
With WesTrac, you have real people doing real jobs with real problems and real opportunities, and you touch the metal, and it's like being grounded.
Even in comedy, you have to be real. It's all about being real. It's how real can you be? That's the challenge. How much are you willing to take on for your character?
Reality television is to television what marble and gold are to real estate. The point is to dispense with the idea of taste. It's all id. The more unrestrained the better. We all know that 'reality' in reality television is not real. That anybody who would participate in reality television is a fake. But pretending otherwise makes them real.
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.
Real isn't how you are made. It's a thing that happens to you. Sometimes it hurts, but when you are Real you don't mind being hurt. It doesn't happen all at once. You become. Once you are Real you can't be ugly, except to people who don't understand. Once you are Real you can't become unreal again. It lasts for always.
Kids not only understand [a dark story] but appreciate it … Because in the real world there's fear, and dark things happen no matter how young you are. People lose parents, people lose friends … There's darkness in the world. So I think when kids are talked to in that way, they appreciate it. They're not being given some candy-coated, 'Oh, this is a world where there are no stakes.' I think that actually insults their intelligence.
The real technical problems came because people working on the project didn't really follow my proposal at all, but set out to do other things instead of making a laser.
Imagining may be the first step in making it happen, but it takes the real time and real efforts of real people to learn things, make things, turn thoughts into deeds or visions into inventions.
But the acting process - create a human being - was real, not only to the audience, but real to me.
There's something about seeing someone who has actually no real supernatural powers and only being able to throw things with precision that kind of makes people be like, 'Oh, I can see that. I can put that person in real life, and I can see it play out as a human being.'
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