Real People Quotes

So much of what comes out of the faith community seems so dour and somber, and we want to say, ‘Hey, we’re real people. You can be a person of faith and really enjoy life and laugh.’

It is easy to make stuff up – and easy to dig up information and repeat it or report it to others. But to find a real life story with real people in real life situations is quite difficult and time-consuming. Yet, the rewards are worth the effort.

I’ve done a number of things based on real people or true stories or based on books, and I’m a great believer that you have to be true to the script.

Shakespeare lets us see real people undergoing real processes, with real feelings.

The real people who suffer when business is leaving or not successful are the people in the middle class.

I’m a fiction writer, and fiction is telling the lives of unreal people. But the only way you can learn to do that well is by really understanding the lives of real people.

The big percentage is us, the real people, and we have to say something. You have to speak up. You have to.

I think hell’s a real place where real people spend a real eternity.

The best way to honor real people when you play them is to try to tell the story of their dynamics and the struggles that they’re dealing with rather than lose sight of the connections and personal relationships, and do a really good job at an accent.

I worry that if you see a row of self-checkouts, you think, ‘That all used to be jobs and real people.’

The recent controversy over the portrayal of Ken Taylor and his embassy staff in the movie ‘Argo’ brought home to me the great responsibility we writers have when telling stories that involve real people.

MasterChef’s’ about real people and for real people. It’s aspirational and inspirational. There’s nothing snobbish about it.

When I was younger, I just lived my life on paper. I didn’t really live in the real world very much. As a consequence, I couldn’t cope with the real world and real people very well. That in itself became life threatening, so I had to stop drawing so much and learn how to cope with people.

I like to make films with characters that resemble real people, about societies that exist.

I make things up for a living. It would be pretty boring to just fictionalize real people.

A work of fiction is conceived very much the same way as a dream occurs in the mind of a sleeper. But a lot of it is imagination. It’s not based on real people.

I’m following a real event and real people.

When ‘Real People’ aired in 1979, we did OK in Los Angeles and New York. What kept that show from being canceled were the ratings from the middle of the country, and that’s what kept us in the top five. I learned then from co-hosting that it was important to focus on the country between Los Angeles and New York.

I think audiences are really thirsty for real shows about real people in any circumstances.

Real people speak in my books about the main events of the age, such as the war, the Chernobyl disaster, and the downfall of a great empire.

My goal would be to make Frank Capra-type films about real people, how they define their reality.

I take real people and put them in extraordinary situations.

For lots of us, disabled people are not our teachers or our doctors or our manicurists. We’re not real people. We are there to inspire.

I’m like Twitter-famous, but in real life. Instead of your mentions, it’s real people coming up to you. People shake your hand instead of liking your tweets.

I don’t like writing with real people in mind.

When I was a little girl, I grew up in Connecticut. Ed and Lorraine Warren’s home was not too far from mine. ‘The Conjuring’ films are based on them; Ed and Lorraine were real people who made a museum in their home.

You know what matters? Touching people. Being a real person. Because when you’re in front of real people, they gon’ give you a real reaction.

Fights in real life between real people only last so long before someone gets seriously hurt.

One of the great pleasures in writing ‘The Dream Lover’ was learning about some of the real people who populated George Sand’s life. What a cast of characters! And what a pleasure to recreate them upon the page!

My characters surprise me constantly. My characters are like my friends – I can give them advice, but they don’t have to take it. If your characters are real, then they surprise you, just like real people.

I did this TV show, which was my first job ever. It wasn’t a real acting part. It was like this promo for this sitcom and the main actress was meeting three different real people and then she was going to decide who was going to be on the episode.

It’s always good to be able to identify with the characters that you’re watching and not just easily put them in the bad box or the good box. They’re real people that you care about, and you invest in their journey.

It’s a huge responsibility writing about people who are alive. It’s the thing about writing that keeps me awake at night: dramatising real-life events with real people.

What any candidate should do in any race, frankly, is to show up. There’s no special, secret sauce there. It’s about having real conversations with real people, and when you do that you stay tethered to the things that matter. And that’s what people want.

Comedy is unusual people in real situations; farce is real people in unusual situations.

‘Star Wars’ is very black and white, and honestly, I like it that way. But fantastical settings like that work best when the characters within them feel real. Real people have conflicts and make mistakes and get it wrong sometimes.

I’m hands-on with everything, always trying to reach the real people.

My Southern heritage is a big part of who I am. I grew up around people who seemed like characters but are actual, real people. My grandmother made sure I had manners and all that stuff.

I want to play real people. Real women. I want to be where the fun is – closer to humanity.

The ‘Islam vs. the West’ dialogue ceased to be about real people a long time ago.

Every reader knows about the feeling that characters in books seem more real than real people.

One thing about America is Americans are real people. So it’s like, if they see that you’re real, this is real, then they’re gonna relate to it.

Because my friends and family are real people, and they wear all sizes, I couldn’t imagine designing something that my loved ones could not wear.

I think Hollywood has this reputation of being fake, but there is real people, and you can choose and try and see.

I wrote about real people and real circumstances and real neighborhoods. There was no crypt or castles or H.P. Lovecraft-type environments. They were just about normal people who had something bizarre happening to them in the neighborhood.

Doing representations of real people is not my strongpoint as a visual artist, and I know that.

I try to watch only real things, which basically amounts to C-Span for me. I like real people in real situations. I learn from that.

Meta-fiction doesn’t depend on the illusion that you’re reading about real people.

What does it say about a president’s policies when he has to use a cartoon character rather than real people to justify his record? What does it say about the fiction of old liberalism to insist that good jobs and good schools and good wages will result from policies that have failed us, time and again?

And they didn’t have to get into a lot of legal speak or talk ER terms, they were real people. I think that’s why so many actresses were attracted to it. And it was just about problems that you could identify with so much, right off the bat.

We’re all used to seeing pretty people. I want to see real people.

But I really believe that when you give people authentic identity, which is what Facebook does, and you can be your real self and connect with real people online, things will change.

I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.

Exploration by real people inspires us.

I find that using real people as models keeps me from getting too formulaic in the designs of characters.

In the real world, as lived and experienced by real people, the demand for human rights and dignity, the longing for liberty and justice and opportunity, the hatred of oppression and corruption and cruelty is reality.

A lot of children’s entertainment is animated, and I guess the beauty of The Wiggles is that we’re still real people… You’re able to be predominantly yourself. I think that’s why children relate.

No one wants to see a person on TV who’s super-ultra-cool. That’s Superman, that’s a thing of the past. Heroes are now flawed, and have terrible tempers, you know? They’re real people.

Marvel is really about the stories of Peter Parker and Bruce Banner or Jessica Jones. These are – I’m hesitant to say the word, but – real people with real problems whose power comes, to use the great expression, with great responsibility.

I’d always envied actors who got to play real people or got to do research. I’ve always just had these scripts where, I mean not in a bad way, but it was right on the page.

The difficulty with telling stories about real people is you have to find a way of mixing yourself into the matter.

Real people are complex, contradictory, and have their own motivations – they can’t just be mouthpieces for the writers’ point of view.

It’s sad that you don’t see drivers being real people.

They make three types of movies, and if you don’t make one of those three, you have to find independent financing: It’s either big-action superhero tent-pole thing, or it’s an animated film, or it’s an R-rated, raunchy sex comedy. They don’t make movies about real people.

‘Gob’ is a character that I enjoy playing immensely because I have so much freedom to take his dim-wittedness to all sorts of low levels. I find him interesting because when you see real people who are completely self-unaware, it boggles your mind.

I don’t live in L.A. on purpose because I don’t wanna be immersed in that. I have to have a real life, with real people, in order to inform what I’m doing; otherwise, it just becomes the snake eating its own tail. Vampirism.

I understand we love to talk about black girl magic, but sometimes that is a term that allows people to put us in this character like we’re not real people that feel real things.

I love documentaries, I like observing real people.

What bothers me the most are the Republicans and the Democrats: they act like little kids. They are lying to real people out here trying to get through life.

If you keep eating McDonald’s, you gonna get sick. You need a real home-cooked meal. And I knew that that would be healthier. And that’s what Wu-Tang was: It was a home-cooked meal of hip-hop. Of the real people.

Flea markets tend to be overwhelming. A lot of times, when I go with a first-time shopper, they don’t buy anything. The rooms in my new book involved real people with real design dilemmas. They were paralyzed to make a decision.

I’m a documentary filmmaker by training. You got to start with the real people and the real place.

I am drawn to characters that go on journeys, characters that are real people, that have life.

Typically, actors overplay jargon or toss it away in an extravagant display of casualness. Real people hit the important parts hard.

If you mingle with real people, only then your craft can improve. I spend most of my time outside the vanity van, speaking to people. You never know what you can pick from a person.

The people I’ve met through my path in activism, we’re trying to bring real people into a leadership role because we are real Americans and know the true pain of having to worry about our children. And there’s no force like a mother trying to protect her child.

I am fascinated by real people who are really funny.

I like real people. I don’t like fakes.

I’ve found I can plunge the characters into whatever absurd, awful situation, and readers will follow as long as the writer makes them seem like ‘real people.’

I have friends that I have made through Twitter or things like that, but they’re all verified as real people – I’ve either seen them perform, or we’re mutual fans of each other, something like that. I don’t have any authentic, ‘Catfish’-worthy stories.

Facebook succeeded because it was about real people having a presence on the Internet. There were all these other social networking sites people had, but they were all about fictional people.

I love the true life stories and the biopics – people say I’m pigeonholed, but it’s a fantastic kind of pigeonhole – but it’s tough to then go and direct it because I know all the real people.

Well, now, and there’s – for every dollar the federal government spends, there’s real people on the other side, and so when we talk about reductions that are going to affect providers, that’s going to affect hospitals and doctors and others.

I’ve never wanted to play bank managers and real people particularly.

I design for real people. I think of our customers all the time. There is no virtue whatsoever in creating clothing or accessories that are not practical.

People bought bitcoin because they thought it would be worth more tomorrow. And a lot of people got lucky. But we’re not seeing real people use bitcoin. And we don’t know what problem it solves. Now, blockchain, I think, is a genius advancement in technology.

I think about a Richard Avedon photo series, the kind of faces he gets of real people, which I find so captivating. Fellini was also great in filling his films with this ambiance, this environment, sometimes chaotic and carnival-like, but people’s faces were always amazing.

In ‘Property,’ none of the characters are based on any real people, but the house is very much the house that I moved into in Saratoga Springs, N.Y.

I’ve played real people before, but I never knew them.

I hope we see more stories where the heroes are real heroes, real people that don’t need weapons or super powers to change people’s lives.

There’s a certain amount of pressure that comes from playing real people. It’s a pressure to deliver something fair and right to the real person and any living relatives. But generally, it’s a joy, as you get to target your interest on a particular era.

I always find the more you can draw on real life characters, people, situations, it works better. Certainly for designing a character, I prefer to draw on real people rather than other guys I’ve seen in movies, rather than ‘here’s my version of Clint Eastwood’ or whoever.

I do comedy for real people.

In times of trial, for inspiration, people want to look to real people rather than to fiction.

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.

Anybody who sits down to write, and they think ‘thriller,’ maybe shouldn’t be thinking that way. Maybe we should be thinking ‘novel,’ maybe ‘thriller’ way in the background, but that these are real people to whom things are happening. It just happens to be a hell of an exciting story.

All I’ve ever tried to do is play real people.

I like real people – salt-of-the-earth men.

What pedophiles and people who have sexual desires on children lose sight of to a terrible, terrible degree – a devastating degree – is that their victims are real people who will suffer forever whatever abuses are perpetrated on them.

Real people – the interesting ones, anyway – don’t remain static, and neither do the ones I write about. Changes take place, and they react to them.

I think, really, what I’m interested in is whole women, real people.

For me, a great fantasy is real people, a world I recognise, human struggle and magic. You’ve got to have magic to make a fantasy work. But I like my magic to be subtle. I don’t want magic coming out of the hands of wizards. I want it to be pervading, sinister somehow.

I never base characters on real people. There are people who do that but I really don’t know how to do it.

That’s one thing about Hollywood. People don’t always want what’s real. People always want a little more. So for me, it’s a compromise. Here you go, that hyper-reality.

My characters are fictional. I get ideas from real people, sometimes, but my characters always exist only in my head.

I’ve made many films and only a few times I’ve played real people.

When I am preparing my ‘lookalike’ photographs, I think about the character of the real people, because, if the photographs are going to be plausible, you have to convince the viewer that they could have happened.

When you are a people’s movement, you have one thing. Your only asset is people. And you have to deal with real people. Not the people of your imagination. Not the people you wish people would be. But people as they exist actually out there in the real world.

Policy is about real people and real stories, and sometimes we forget that.

You have to always try to think about them like real people first, and not just heroes. They have to be real characters. As people do more and more superhero stuff, the characters are what distinguish it, just like in cop shows.

Our public portrayal of fathers has shifted during my life. TV fathers have ‘evolved’ from real people like Sheriff Andy Taylor, Beaver’s dad Ward Cleaver and Heathcliff ‘Cliff’ Huxtable, to cartoon dads like Homer Simpson and Seth MacFarlane’s caricatures in ‘American Dad!’ and ‘Family Guy.’

People can be so apathetic. They continue to ignore the real people trapped in poverty and homelessness. It’s almost maddening.

Among adults, we can admit that of course, characters are creations. They aren’t real people.

I think right about now we have to beware of marketed Malcolms and Martins. Real people do real things.

With my physicality and my face, I don’t think I could pull off a completely righteous guy. There’s something devious about my eyes. I like characters with flaws and to see how they overcome those flaws. I want to play real people, and they’re flawed, not perfect.

I’m really interested in real people in extraordinary situations. The detail and reality to that.

I like performers who I know are for real. You can tell, man, there’s an intensity about their stuff. You can tell right away they’re real people, ya know?

I’m not just saying this because I’m in the movie, but I really would recommend ‘Secretariat.’ It’s fun, inspiring, and it’s a great movie to take your little kids, brothers, sisters, or nieces and nephews to see that actually has real people in it and not animated characters.

I’ve had my best experience as a filmmaker with true stories about real people and real cultures.

I was a big fan of the show ‘Deadwood’ on HBO, which was created by David Milch. And as soon as I heard that all of those characters on Deadwood were based on real people, the first thing I did was Google everybody.

What sometimes annoys me about the arts is increasingly that we have to put real people on screen or stage.

If you make an authentic political film, which talks of real people and real events, in a politically conscious country like India, it is but natural that people will react to it in different ways and there will be a collage of opinions.

Every second, every day, every year, we fail to address demand for reproductive health and family planning services. Lives are lost, and girls’ opportunities to thrive and contribute to their country’s development shrink. These are real people.

A novel that features real people is complicated, but in the end, that extra challenge is all for the good.

Yeah, you know, there’s a difference between the textbook world that economists like to imagine, and the real world where real people have real feelings.

Doesn’t matter whether it’s a teen girl who’s pregnant, hasn’t told her parents, or an elderly couple dealing with one of them being diagnosed with Alzheimer’s. Those are real people to me. Those are the people I dealt with every single day.

I like movies that are about real people in real time with real problems.

When you are doing a film about real people, you don’t have a lot of manoeuvrability when it comes to how much you can add by way of imagination. You have to replicate what they were like. What you can add to it is your version of it.

If you put a real leaf and a silk leaf side by side, you’ll see something of the difference between Homer’s poetry and anyone else’s. There seem to be real leaves still alive in the ‘Iliad,’ real animals, real people, real light attending everything.

Sometimes after a compliment about my characterization skills, I’m asked if I model my characters on real people. Emphatically, no. And sort of, yes.

I always talk about my characters like they’re real people.

Towns have to evolve. Towns have to grow up. But not at the expense of the real people.

I know real people, whose names I could tell you, people I know who have said ‘I’ve stopped buying the New York Times.’ Why? Because their editorial position has filtered, has leached into the news pages.

The thing with drama is you’re allowed to invent people who are maybe slightly better than real people.

There are real people on the pitch. We’re not commodities. Well, maybe we are to some degree, but it’s the team which creates business. Some people don’t appreciate that.

Surely it is a magical thing for a handful of words, artfully arranged, to stop time. To conjure a place, a person, a situation, in all its specificity and dimensions. To affect us and alter us, as profoundly as real people and things do.

Researching real people and doing them, I think, is harder than anything else. You don’t want to do a caricature of them and you don’t want to do an impression. You just want to do the best you can, in terms of presenting their views and a general impression of the guy. That’s the hardest thing to do, real people.

The lesson for businesses is you are dealing with real people. Those are your customers, those are your employees, those are your bosses, and the better you understand how real people tick, the more successfully you will be able to accomplish your goals.

There are definitely a lot of roles I didn’t get based off of the way I look, but I’m not going to let that stop me. I’m going to write stories for myself or work with filmmakers who want to tell stories about real people.

When real people fall down in life, they get right back up and keep walking.

‘Watchmen’ is a politically charged story, and it explores exactly what a hero is, how the world would treat them and how they would react. It was the first time I read a superhero story that explored that situation. These are very real people with very real problems.

In the theater there is often a tension, almost a contradiction, between the way real people would think and behave, and a kind of imposed dramaticness.

When you’re famous, you don’t get to meet people because they want you to like them when the present themselves to you, and you don’t see the real people.

Only a crazy person wouldn’t fear approaching a car with tinted windows during a late-night car stop, or pounding up a flight of stairs to execute a search warrant, or fast-roping from a helicopter down into hostile fire. Real agents, like real people, feel that fear in the pit of their stomachs.

We try to find the information, the clues, to unlock the play or the story or our characters, especially when they’re based on real people that live and breathe.

In a novel, if you’re any good, you don’t just have good people or bad people. You have complicated people. You have real people.

It is important to remember that all business has an impact on the lives of real people.

Creating characters is like throwing together ingredients for a recipe. I take characteristics I like and dislike in real people I know, or know of, and use them to embellish and define characters.

You see who the real people are when they’re challenged.

I think people are interesting enough. People with mental illness, or just real people going through real circumstances in life.