Unfortunately, in real life, people are so incredibly quick to judge a situation before it has completely played itself out. But fortunately, in "reel" life, the audience gets an opportunity to watch things unfold, or unravel... or both in some cases.
It is easier to compare concrete things in a fictional story with concrete things in real life than it is to compare abstractions with concrete things in real life (though both are honorable and necessary things to do).
In matter-ism (materialism), there can be nothing wrong with the world since there is no right way for the world to be in the first place. Everything is just matter in motion and that's that. In Mind-ism (monism) there's a different route to the same problem. There cannot be a problem of evil, even in principle, since in Mind-ism even morality is maya; illusion. In neither story, then (if we're to be consistent with their principles), can the issue of evil be raised. But in real life the problem comes up all the time. That's the difficulty.
On Facebook, Twitter, texting, e-mails, remember, it's a mode of communication, it is not communication. It's not real life. So step aside, make sure people see something other than the top of your head and live in real time, in the real world.
It was exciting to work with director Jennifer Baichwal, who made Manufactured Landscapes and others, on the film of Payback: Debt and the Shadow Side of Wealth. It's called, simply, PAYBACK. Jennifer didn't want to do a transliteration of the book, a kind of illustrated version, but to go into the core of the book: owing and being owed, paying and paying back, on all sorts of levels. So she found real-life, visceral stories that embodied the themes of the book.
I think it's hard sometimes for people to grapple with the real-life consequences of political change. I think that, we as a culture, feel like politics is one sector of our lives that can feel apart from our personal lives and the cultural things we're interested in and the sports we watch. It feels like this separate, different thing.
In real life, there are right-wingers, there are anti-immigrant activists who want to overturn this constitutional right that we have to become Americans when we're born in this country. There's lots of people who believe that this has led to the phenomenon of the anchor babies. I am an anchor baby. My parents were able to receive their residency and citizenship because, I, a U.S. citizen child of theirs, was born in Los Angeles.
Songs are snapshots of things - it's likened to looking at pictures. It will never feel like it felt in real life. When you look at it, it always feels different. It's sort of the same with songs.
I think you either live a real life or you live a weird celebrity pseudolife. I think I lead a really real life.
I think I'm optimistic, yeah, especially in real life, but I think it's funny to be pessimistic.
I'm an animal. I'm an animal in real-life and an animal onstage. I never became a recluse, I never lived up in the Hills where I didn't see real life. You know what I mean? I'm not still living in Brooklyn, but I'm still living in the street. I go out by myself, I don't go out with a million body guards, I run my own errands.
I think for a lot of people that are in performing arts, it's easy to fall into the trap of starting to confuse what's real life and what's not, because to your body it's all real.
If I didn't end up talking about the things that I care about, I wouldn't be myself. I didn't like the idea that I would be a different person on the internet than I would be in real life. And I see people struggling. I see people who face prejudice and people who feel invisible. And I recognize that I already have a built-in platform that I can utilize so easily to actually do something.
I am always looking for inspiration. I always live in big cities where I can go every day to a museum, see a lecture, meet people that are artists, go to the cinema. For me, it's like food. It is necessary for my personal growth as a person to grow as an artist, I go basically every week to three or four things. But it's real life that inspires me - when I meet somebody, when I see something.
I am quite a positive man in real life. In fact, even when I have a hard discussion with somebody, it lasts only five minutes. Then I forget. And I forgive everything. But at the same time, as I am such an easygoing guy, to create something more intense, I have to be auto-destructive on the making of a film. And this will guarantee some density.
We always have the movies that are more toward real life, but they don't have that much drama or suspense, or we have the full of drama or suspense, but they're far away from real life. Always when I was watching a film, films with good drama, I was thinking, "I wish they were more close to real life." But when I was watching real life films I was thinking, "Well I wish it had more drama." I've tried, in the movies that I worked so far, to get these two things closer and closer to each other.
Strangely enough, for me, Instagram has been a creatively freeing and inspiring format lately. I have been so very resistant to nearly all forms of media, yet finally this made it into my atmosphere, and in discovering this I have been propelled into some movement and new ideas. Real life images, curated images, even the visual diarrhea are incredible fertilization for movement in some direction or another.
I'm not really a person who loves things that are surreal or not grounded in real life or reality. I like that - I want to find something that I can relate to and then maybe do a little bit more and embellish.
I think my way of showing violence is unique from that of other filmmakers, in that when I show it, it hurts. It happens unexpectedly and looks painful. That's how it is in real life, and that's how it should be expressed. I don't glamorize it, nor do I depict it without necessity or inevitability.
So much of what we see and hear about the Middle East focuses on what we call politics, which is essentially ideology. But when it comes to the Middle East, and especially the Arab world, simply depicting people as human beings is the most political thing you can do. And that's why I chose to write about food: food is inherently political, but it's also an essential part of people's real lives. It's where the public and private spheres connect.
There's so much power in allegory, to form ideas and learn lessons that you can actually take and apply to real life. I think that's why I originally really loved fantasy and reading.
In real life, holidays are extremely stressful. They're the best of times and worst of times because you have got people trying to get along with people that you don't always get along with.
Writing is my way of trying to understand vast things that probably I'll never truly understand, a way of exploring a Big Question, of wrestling meaning from the chaos of life. Consequently, when I choose to write overtly or even secretly about my real life, it's always something difficult and complicated that I'm longing to make sense of.
Learning to heal ruptures is a key to having a successful relationship. Adam and Eve model that for all of us. In Hollywood love is a choice, and you live happily ever after. In real life love is a series of choices. You make the choice to be with a person over and over again.
I get asked that a lot: "What do you think your role is, with all the people that look up to you?" I'm an entertainer, you know? I'm not trying to bombard anybody with anything, but at the same time, face-to-face or in real life, if I'm talking to some kid, I have opinions just like everybody else does.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: