What Corrigan wanted was a fully believable God, one you could find in the grime of the everyday. . . he consoled himself with the fact that, in the real world, when he looked closely into the darkness he might find the presence of a light, damaged and bruised, but a little light all the same. He wanted, quite simply, for the world to be a better place, and he was in the habit of hoping for it.
I am a director and I think actually they're not that different - dramas and docs aren't that different. When I'm doing a drama I'm trying to make things feel as believable and real as possible. The hair, the make-up, the costume, the design, you're trying to make it authentic. And when you've got a documentary it's all authentic, so what story are you going to tell and how do you make it dramatic and exciting? It's the same thing.
I seem to know all the cliches, but not how to put them together in a believable way. Or else these stories are terrible and grandiose precisely because all the cliches intertwine in an unrealistic way and you can't disentangle them. But when you actually live a cliche, it feels brand new, and you are unashamed.
The work for the actor is always the same. We're looking for a human being. We're looking for believable human behavior.
I want to be funny, but it has to be a believable funny.
And the most important thing - apart from telling a good, believable story, and being a true character - is to be someone the audience will care about, even if you're playing a murderer or rapist.
Which is the more believable of the two, Moses or China?
It's weird that you have to work really, really hard just to be real or normal. Everybody's got their different techniques, but what makes a really good actor is somebody who's really believable.
I don't worry about whether a character is likable, as long as the character is believable.
Young children are unlikely to have their self-esteem strengthened from excessive praise or flattery. On the contrary, it may raise some doubts in children; many children can see through flattery and may even dismiss an adult who heaps on praise as a poor source of support-one who is not very believable.
The story she had told me was possible, but it was not believable.
Sometimes the truth is not as believable as a well-crafted lie.
It's such a challenge to play a good guy - it's hard to be believable.
You need to be real enough to be believable, but you don't necessarily have to be real enough to be real. There is a distinction.
There are no unbeatable odds, there are no believable gods.
Ironically, in today's marketplace successful nonfiction has to be unbelievable, while successful fiction must be believable.
I always try to write about believable people.
One of the reasons people find me a believable actor is that I don't seem like one of the gods from Olympus. I seem like someone who was lucky enough to be let into Olympus.
When we make films - even 2D films - you're always trying to create this illusion of 3D, anyway. You're trying to create a believable world with characters walking, in and out of the perspective, to create the illusion that there's a world. The desire and drive to create this illusion of three-dimensional space is something that is true about every kind of film because you want the audience to really be experiencing it, first hand. It's a natural extension of the storytelling and the process of filmmaking.
It is curious how believable I can be when I criticize myself, how unconvincing when I give myself praise.
