Beat up 10 guys, win the girl, and yet you are supposed to be a normal human being. I don't mind doing that as a superhero but not as a real person!
I wrote a song on the record called 'Flawed Design' and it's basically looking at that, and it was just exploring how everybody obviously has flaws. I think to embrace those flaws - enjoy them, embrace them - and actually be a real person is something that a lot of people struggle with, myself included.
You can never connect on a deeper level if you idolise someone - you don't see the real person.
We talk about characters in literature as though they were built on the model of the real person, but then I often think that the way we present ourselves as real people is based heavily on the way literary psychologies are stylized, and I wonder how the two forms of realistic personhood feed on or fulfill each other.
It is one of the most effective attitudes of the neurotic to measure thumbs down, so to speak, a real person by an ideal, since in doing so he can depreciate him as much as he wishes.
I'm a very real person that has overcome a lot, so I think I'm relatable.
It's almost like living a double life where I'm in a limbo space where Amanda Knox, a real person, exists, 'Foxy Knoxy,' an idea of a person, exists, and I'm constantly having to juggle how someone is interacting with me based upon that two-dimensional person of me that has been in the public's imagination for so long.
I wanted to create a heroine that was flawed. I wanted her to be a real person. She's selfish, she's childish, she's immature and because I'm doing a three-book arc I really played that up in the first book. I wanted the reader to be annoyed with her at times.
A lot of people know the name Gloria Vanderbilt, but they don't really know the whole story behind her, the real person that she is.
When you're playing a romantic version of a real person, you're playing a version of the truth.
