I didn't really get the chance to talk to girls. I was a straight boy with hormones kicking in, and I wanted to talk to girls, but they weren't interested in talking back to me, so there was a real sense of loneliness.
The real reason Cuba poses a threat has nothing to do with my being here or anyone else being here. It's because Cuba is an example of a country that is actively fighting against imperialist domination and insists on its own right to self-determination and sovereignty.
I never base characters on real people - you can get into so much trouble that way!
In the real world there's an after-effect of disappointment if you lose an argument. But if, to begin with, you're set up not to have this particular autonomy, then you're not disappointed.
Normal, day-to-day things inspire you to write. I try to travel and chill, and go out and enjoy the outdoors. That makes you see the real world. Not just in the studio or at concerts. I live it up as normal as I can.
Handling a painful situation in a comedic way is truly the funniest. That is extremely real to me and not kind of clownish. There is a thin line though; you can't overdo it.
I love watching people be totally committed in a very real way to stupid situations. I find it's not so much trying to be funny, it's trying to be real in a messed up context. That's comedy to me.
On the set of an independent film you can tell that nobody is doing it for the money. Everyone is there because they love the script. A smaller budget sort of unifies everyone; it's a real team effort and that's amazing. But these opportunities just don't present themselves that often for me, so basically any chance I get to do something different I jump on it.
It's so easy to think that this [celebrity] is reality; that people are lining up outside just to write down what I have to say. That's not real; that's weird.
I'm a real blue jeans girl, I wear jeans all the time and I couldn't live without them. Jeans and blazers.
Even though there's reasons to try things that may or may not work, it's still a real intimate way to finish the song with everybody right there in the band just locked in.
When I was a kid, I was taken to something called Telenews in Cleveland by my best friend's father. My own father was gone by the time I was 5, I think, but this man would take us to Telenews at the end of World War II, and we'd watch all these newsreels. I'd seen real stuff. That kind of stuck in my mind.
You can't have self confidence without some real skills that enable you to be successful.
As part of my job, I got malaria really badly and was put in intensive care, and I had a hallucination because they give you this cocktail of drugs to fix you so you don't die, and I had this hallucination that I was at the Oscars and I won and I was a really good actress, and it was so real that when I came out of the hospital, I started saying to people I'm going to become an actress.
I've always relied on discipline to achieve goals great and small. At a young age, my father instilled a real work ethic in me - and a fear of men. I always felt like if I didn't have a natural knack for something, I could kind of out-discipline the competition as it were. So I would always work as hard as I possibly could, sometimes to my own detriment and my personal life. For me, I think will power and discipline are very synonymous.
Executives need to understand the economic benefits of trust dividend, especially when the behavior is real, not artificially or superficially created as PR to manipulate trust.
Anyone who wants to be a writer should, if given the opportunity, hang out with "real writers," that is, poets or writers who are lions in literature, semi-lions, or published authors.
I've met some real talents that were...real talents and I've met some real talents that were incredible people.People like Al Williamson, Gray Morrow, to a certain extent Jim Steranko, who is an institution all to himself. What a talent. What a genius talent.
I started out wanting to be a straight adventure cartoonist, but in 1979 realized what my real bag was.
I think one of the things you have to have is a respect for the camera, a real respect, and a real love for it, and to really, when I say take it seriously, quote 'seriously', I mean not patronize it. It's a big mistake to patronize it and think it's a third rate medium, because it's not, it's a great art form.
Most games follow a real railroad plot, no matter what you want, you're following their storyline to its unavoidable conclusion. I'd like to write a game where your character can follow any number of possible story arcs and sub-plots.
I don't feel beholden to follow the real world at all. The important thing is to know WHY things turned out the way they did. You need to understand the reasons for events, or at least be able to make reasonable guesses about them.
Reading aloud sounds like a good idea, but honestly, it doesn't work very well. Good dialogue in a book doesn't actually bear much resemblance to real-life dialogue. For example, if you've ever seen a word-for-word transcript of people talking, it doesn't read off the page very well. The trick is to make it *seem* like it's being spoken, not to make it speakable.
I think a lot of female actors have a real fear of not looking their best. They learn to prize their vanity over a role in which they have to look like a moron. They're worried they'll damage their sex appeal. Thankfully, I have no problem looking like a moron!
I do think that animated films have the ability to touch you someplace. There is something about live action movies that is different because we know the characters are real people, so they always stay flawed for us somehow. But animated films touch us in a very clear, uncomplicated place. They have that ability. And an animated character can make an expression in a way humans can't do.
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