I write fiction, there's no guarantee that what I say is truthful.
We, hijras, are not hypocrites. We live our sexuality openly, being truthful to our souls and our bodies. Science and doctors assigned something else to us when we were born - which they didn't have the authority to - but we choose what we are and we are very truthful about it.
When an actor comes to you and starts working with the script, the image of his character that you had in your mind gets substituted with an image of that particular actor. And this is the right way to go. An actor has to be absolutely truthful - this is the only thing required of him, apart from talent of course. It's very easy to understand: you need to absolutely believe in what you see.
Truth exists independent of style. It involves all kinds of issues. Properly considered, it's a quest, a pursuit. To say that vérité is more truthful than something that is narrated is just misplaced. Completely wrong. And the fact that people still talk about it as though they're really talking about something... it puzzles me greatly. A moment of reflection about it tells you that it makes no sense!
You can ask yourself, if a film makes a claim, is the claim true or false? Having said that, a style of presenting material doesn't guarantee truth. There's this crazy idea that somehow you pick a style, and by virtue of picking the style, you've provided something that is more truthful. It's as if you imagine that changing the font on a sentence you write makes it more truthful.
My overall responsibility is to be truthful. If people pay money to come and see me, looking for something other than that, then they've made a mistake.
While I am happy to make the occasional foray into educational philosophy - writing, for example, of the difficulty in the contemporary context for a teacher to be 'truthful' - it is more the personal conduct of a life than social institutions that I am concerned to examine.
I always feel that as the author, once I know what a character is ashamed of, then I can go about making her truthful on the page.
I never set out to make any statements about a specific character, I just set out to tell what feels like is a truthful story, a person that you and I might truly encounter.
It's very hard, I think especially for women, to not take it in and to not be super conscious of the way that you're being seen, which is of course completely antithetical to the work you want to do, which is completely free and bold and truthful and honest and brave.
Kids tell me all the time, "I don't know how you do it, but that's us in the book." That's the kind of response you want, and I can't sacrifice it for the sake of somebody worried about censorship. You have to find a way to be truthful and honest.
I think in the end there is one ultimate goal with all my careers, and that is, as a performing artist, you want to explore the deepest, most truthful way to express a point of view, or whatever the character is thinking, or whatever emotion you're trying to convey. I think with the different media it's just about what muscles you use to express that.
It's much easier to conjure characters strictly from your imagination than to have to think about whether you're representing people in a truthful way.
We're either awake or we're sleeping. During the time that we're awake, we work very hard at denying things, mainly because we have to function as people. We have to control and repress everything that we're fearful of, because it doesn't make sense to go crazy on the streets, but in reality we hide and we hide, repress and repress, our fears of the world of violence, of separation, of death, and sometimes hopes, and some things that are very joyful, reunions or all of those good things. It's only in dreams that we're really truthful with whatever hurts most; they're really very real.
I like being at that place where you can either fall or stand. That's where I think you really have a shot at doing something truthful.
I never aspire to be objective because I don't believe in objectivity. It's important to be truthful, and it's important to make sure that the audience has a solid sense of what the expectation should be of a particular film.
Being truthful - that's what I admire the most in people. That's about it. As long as people are honest. Honest to themselves as well - more than anything else.
We're no longer dealing in the world of the real in a truthful way. We're interacting with each other in shiny homepages. I don't think that makes for honest communication.
It was really executed well, from the art direction to the wardrobe to everyone else. And I have to say, two really exceptional directors who did three each. Roxann [Dawson] did the first three and Jeremy [Webb] did the second three. And I think they really were very meticulous in getting the right tone because it is both. It isn't dour and it isn't grim, but it's not a romp either. It's truthful and it has room for both of those things.
I think people respond to truthful, simple narrative, and the more you try to dress it up to try and do something else, the harder it is for people to relate to.
Man must saturate his daily life in truthful speech, virtuous acts and holy thoughts.
I feel like I need just to keep trying to make the work for the right reasons. I think part of that is working with really good people, and just trying to make strong truthful work. And not being diverted from that.
As a director I always look at someone's eyes. How truthful are they? Will this person take me on this journey?
For me, real, truthful moments come from a place that I don't know. If somebody was telling me, "You're going to lift your face like this, you're going to do this..." No! I don't want to know. Just let me live it.
Bend words. Stretch them, squash them, mash them up, fold them. Turn them over or swing them upside down. Make up new words. Leave a place for the strange and downright impossible ones. Use ancient words. Hold on to the gangly, silly, slippy, truthful, dangerous, out-of-fashion ones.
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