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The real Malala is gone somewhere, and I can't find her.

I will only miss school for an engagement if it is going to bring real change.

Sometimes, I think filmmakers grab too much from real life.

Within the mainstream cinema, I feel you can experiment and make sensible films. It's possible to tell a story with characters and emotions which are real, genuine, and which need not be over the top.

I feel really held in being vulnerable. That's always been the kind of music that I've gravitated to as well, but to feel really supported by my audience in that is a real privilege.

The real guys that I knew were really cool people, who I played basketball with and traveled with on teams and knew their families and knew that they love their family. They just happen to do something that wasn't all the way legal, but it was a part of their life, and you knew that they hustled.

Sense perceptions can be and often are false and deceptive, however real they may appear to us. Where there is realization outside the senses, it is infallible. It is proved not by extraneous evidence but in the transformed conduct and character of those who have felt the real presence of God within.

'Game of Thrones' focuses on what's real.

We all assume that if you're weak and poor, you're never going to win. In fact, the real world is full of examples where the exact opposite happens, where the weak win and the strong screw up.

It's so special to have a real log and chronicle of the way you spend your time.

Being the Lux girl has been a real journey! I did my first ad before my first film released. I was shy and unaware.

The 'Black Album' was my real first introduction to Metallica. I was, like, 12 or 13 at the time. We were just getting into music, and I liked that album a lot, but it didn't necessarily change my life. But when I started picking up all the other Metallica records, 'Master of Puppets' was the one to me that stuck out with its songwriting.

The real world is harsh.

I know that there is life beyond films. I know the difference between reel and real.

Coaches block out the future because they think if they start talking about the future they're not being fair to their current staff or players. That's a real phobia. In some cases it really hurts your family. During the season your commitment is to your coaches and your team.

It's a real skill to take a piece of literature and make it in cinema. It's quite a different form, and I think I have to respect that.

If you want to achieve a real labour of love, it can be painful, too.

We Need To Talk About Kevin,' as an adaptation, was pretty major. It's a long book, and it's in letters, so it was a real editing experience to boil that down and make it cinematic. I learned a lot doing that film.

There's been no real reason to move to LA. The stuff I've done for America has been done in Europe anyway. We made a decision early on that we'd find our base and not shake the children's world as much as mine.

I've been talking a lot about how music chooses you because you can pinpoint when you had the epiphany that, 'Wow, I really want to do this.' But there's no real rhyme or reason about choosing to be in this industry. It's one of those things where there is no real guarantee; there is no real rulebook to follow.

We get punched in the face, you can break your nose, you can ruin your career by knee surgeries or things like that, so it's not to just give in the hands of people for ego or things like that. You need to be with real professionals and you need to feel good.

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