I think my movies aren't sentimental. I think my movies are funny and sad and realistic. Not realistic in the sense that they're documentaries, but realistic in the sense that they're not idealistic, they're not optimistic, not pessimistic, and not propagandistic. They're an analysis of a situation. I call it as I see it, so to speak.
The Captains of Industry have always counseled the rest of us "to be realistic." Let us, therefore, be realistic. Is it realistic to assume that the present economy would be just fine if only it would stop poisoning the air and water, or if only it would stop soil erosion, or if only it would stop degrading watersheds and forest ecosystems, or if only it would stop seducing children, or if only it would stop buying politicians, or if only it would give women and favored minorities an equitable share of the loot?
People who complain often say things like, 'I'm not being negative, I'm just being realistic.' Really? How is it anymore 'realistic' to focus on and talk about things that discourage us and make us feel bad, than to focus on and talk about the POSITIVE aspects of life that make us feel GOOD? Both area equally REALISTIC, but which you choose to dwell on has a very different impact on the quality of YOUR life.
Realism should only be the means of expression of religious genius... or, at the other extreme, the artistic expressions of monkeys which are quite satisfied with mere imitation. In fact, art is never realistic though sometimes it is tempted to be. To be really realistic a description would have to be endless.
As the CG in motion capture made it look realistic, it put more of an onus on the game makers to make the dialogue they're saying more realistic. It doesn't matter what they say when they're 8-bits, but if they look almost photo-real, it matters. More and more, the games industry is realising that.
David S. Goyer
When the Romantic Novelists' Association was founded 35 years ago (in 1960) the image was of pink fluffy bimbos. Now, the view of life through rose-coloured spectacles has gone out of the window. A realistic background and certainly a more realistic relationship between a man and a woman are the important things.
As a child, I was always a sucker for anything in miniature, and it didn't have to be a dress: a desk, a Matchbox truck. Perhaps a childhood attraction to shrunken but compellingly realistic facsimiles is commonplace, if only because children themselves are compellingly realistic facsimiles of the giants who rule their world.
I tend to avoid melodrama. I try to create very realistic settings and very realistic experiences and realistic responses to these experiences. Melodrama is the use of really big events that may or may not happen in real life - certainly they do, but they're not events that are common to most people. Most of the things that happen in my novels are things that could happen to people in real life.
When our hopes for performance are not completely met, realistic optimism involves accepting what cannot now be changed, rather than condemning or second-guessing ourselves. Focusing on the successful aspects of performance (even when the success is modest) promotes positive affect, reduces self-doubt, and helps to maintain motivation (e.g., McFarland & Ross, 1982)... Nevertheless, realistic optimism does not include or imply expectations that things will improve on their own. Wishful thinking of this sort typically has no reliable supporting evidence. Instead, the opportunity-seeking component of realistic optimism motivates efforts to improve future performances on the basis of what has been learned from past performances.
Sandra L. Schneider
I have always enjoyed dealing with a slightly surrealistic situation and presenting it in a realistic manner. I've always liked fairy tales and myths, magical stories. I think they are somehow closer to the sense of reality one feels today than the equally stylized 'realistic' story in which a great deal of selectivity and omission has to occur in order to preserve its 'realist' style.
When we are angry we are blind to reality. Anger may bring us a temporary burst of energy, but that energy is blind and it blocks the part of our brain that distinguishes right from wrong. To deal with our problems, we need to be practical and realistic. If we are to be realistic, we need to use our human intelligence properly, which means we need a calm mind.
All my life, my girlfriends are always skinny. Beauty in art has nothing to do with beauty in reality. Why do you like primitive art? Because there is beauty in the deformity. Sometimes paintings that people consider realistic are not at all. Raphael figures look realistic, but in real life, they were deformed.
A tough manager will have realistic quotas for his employees that he keeps to himself and aggressively stretch quotas, anywhere from ten percent higher to a lot more, which he imposes on his staff. If his people miss the stretch numbers but exceed the realistic goals, he's happy. If he's a superb manager, he knows how far they can stretch without breaking.
First of all, Buddhism is neither pessimistic nor optimistic. If anything at all, it is realistic, for it takes a realistic view of life and the world. It looks at things objectively (yath?bh?tam). It does not falsely lull you into living in a fool's paradise, nor does it frighten and agonize you with all kinds of imaginary fears and sins. It tells you exactly and objectively what you are and what the world around you is, and shows you the way to perfect freedom, peace, tranquility and happiness.
The Theatre of the Absurd, in the sense that it is truly the contemporary theatre, facing as it does man's condition as it is, is the Realistic theatre of our time; and that the supposed Realistic theatre-the term used here to mean most of what is done on Broadway-in the sense that it panders to the public need for self-congratulation and reassurance and presents a false picture of ourselves to ourselves is ... really and truly The Theatre of the Absurd.
However, if one has been playing the buy-and-hold game with quality securities, one has been exposed to a substantial amount of market risk because the valuations placed on these securities have implied overly rosy scenarios prone to popular revision in times of more realistic expectation. This is one of those times, but it is my feeling that the revisions have not been severe enough, the expectations not yet realistic enough. Hence, the world's best companies largely remain overpriced in the marketplace.
Beer commercials usually show big men, manly men, doing manly things: 'You've just killed a small animal. It's time for a light beer.' Why not have a realistic beer commercial, with a realistic thing about beer, where someone goes, 'It's five o'clock in the morning. You've just pissed on a dumpster. It's Miller time.'
If we define optimism broadly as the tendency to maintain a positive outlook, then realistic optimism is the tendency to maintain a positive outlook within the constraints of the available "measurable phenomena situated in the physical and social world" (DeGrandpre, 2000, p. 733). With respect to fuzzy meaning, realistic optimism involves enhancing and focusing on the favorable aspects of our experiences. Examples include being lenient in our evaluation of past events, actively appreciating the positive aspects of our current situation, and routinely emphasizing possible opportunities for the future. With respect to fuzzy knowledge, realistic optimism involves hoping, aspiring, and searching for positive experiences while acknowledging what we do not know and accepting what we cannot know.
Sandra L. Schneider
I agree with Kilgore Trout about realistic novels and their accumulations of nit-picking details. In Trout's novel, The Pan-Galactic Memory Bank, the hero is on a space ship two hundred miles long and sixty-two miles in diameter. He gets a realistic novel out of the branch library in his neighborhood. He reads about sixty pages of it, and then he takes it back. The librarian asks him why he doesn't like it, and he says to her, 'I already know about human beings.
It is true that our everyday view of the world is not quite naively realistic, but that is what it would like to be. Common-sense is naively realistic wherever it does not think that there is some positive reason why it should cease to be so. And this is so in the vast majority of its perceptions. When we see a tree we think that it is really green and really waving about in precisely the same way as it appears to be. We do not think of our object of perception being 'like' the real tree, we think that what we perceive is the tree, and that it is just the same at a given moment whether it be perceived or not, except that what we perceive may be only a part of the real tree.
Charlie Dunbar Broad
Rather than there being two distinct and unambiguous categories of constrained and unconstrained (or tragic and utopian) visions of human nature, I think there is just one vision with a sliding scale. Let's call this the Realistic Vision. If you believe that human nature is partly constrained in all respects-morally, physically, and intellectually-then you hold a Realistic Vision of human nature.
I write weird stories. I don't know why I like weirdness so much. Myself, I'm a very realistic person. I don't trust anything New Age - or reincarnation, dreams, Tarot, horoscopes. I don't trust anything like that at all. I wake up at 6 in the morning and go to bed at 10, jogging every day and swimming, eating healthy food. I'm very realistic. But when I write, I write weird. That's very strange. When I'm getting more and more serious, I'm getting more and more weird. When I want to write about the reality of society and the world, it gets weird. Many people ask me why, and I can't answer that. But I recognized when I was interviewing those 63 ordinary people - they were very straightforward, very simple, very ordinary, but their stories were sometimes very weird. That was interesting.
I would like [my readers] to better understand human beings and human life as a result of having read [my] stories. I'd like them to feel that this was an experience that made things better for them and an experience that gave them hope. I think that the kind of things that we talk about at this conference - fantasy very much so, science fiction, and even horror - the message that we're sending is the reverse of the message sent by what is called "realistic fiction." (I happen to think that realistic fiction is not, in fact, realistic, but that's a side issue.) And what we are saying is that it doesn't have to be like this: things can be different. Our society can be changed. Maybe it's worse, maybe it's better. Maybe it's a higher civilization, maybe it's a barbaric civilization. But it doesn't have to be the way it is now. Things can change. And we're also saying things can change for you in your life. Look at the difference between Severian the apprentice and Severian the Autarch [in The Book of the New Sun], for example. The difference beteween Silk as an augur and Silk as calde [in The Book of the Long Sun]. You see? We don't always have to be this. There can be something else. We can stop doing the thing that we're doing. Moms Mabley had a great line in some movie or other - she said, "You keep on doing what you been doing and you're gonna keep on gettin' what you been gettin'." And we don't have to keep on doing what we've been doing. We can do something else if we don't like what we're gettin'. I think a lot of the purpose of fiction ought to be to tell people that.