Quotes of All Topics . Occasions . Authors
I really was very impressed with DMX during the whole experience on 'Romeo Must Die.' I like working with him. I liked him. And I was very impressed with the reaction of the audience when he was in the picture.
In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
With a play, for me, there's no time to sit back on it. You're living on your instincts. And every night there are subtle changes and adjustments, because what's in front of you is a living, breathing audience.
I tend not to think about audience when I'm writing. Many people who read 'The Giver' now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.
I think Alma Reville was the only one Alfred Hitchcock trusted. When it came to issues of taste or what the audience wanted, down to editing, script and casting, he would turn to her first. She was his partner.
You're out there on a high wire without a net, and that's the way actors operate. They have to be fearless about how they work and they have to create a life for the audience in 90 minutes and make them believe.
Apart from hard work and being in the right projects, you need to re-invent yourself. I'd be bored doing the same thing over and over, and the audience wouldn't like it, too. The trick is to break that monotony.
Even if you are a superstar, you have to give your audience some content. Because there is so much good content out there that people consume today. To sustain this, you have to nurture good content and writers.
People never think of entertainers as being human. When you walk out on stage, the audience think, 'Nothing can go wrong with them.' We get sick and we have headaches just like they do. When we are cut, we bleed.
There's an awful lot of scenes where we don't know what the scene's going to be about, we ask the audience, pick a place that the scene is happening, pick the relationship, tell us who they are, things like that.
In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
That's the kind of movie that I like to make, where there is an invented reality and the audience is going to go someplace where hopefully they've never been before. The details, that's what the world is made of.
The best pop songs are the ones that show that person's personality. It's harder to do those singles because the stars, moon and sun have to align and the audience have to be ready, but it's worth waiting for it.
I left school and couldn't find acting work, so I started going to clubs where you could do stand-up. I've always improvised, and stand-up was this great release. All of a sudden, it was just me and the audience.
I'm not precious about anything. The effort it took to get something means nothing to me in post.And it means nothing to the audience. I'll chop limbs off. I'll put an arm where a leg should be. I'll do anything.
Cary Grant was wonderful to work with on stage. He would move downstage, so that as he looked at me the audience had to look at me, too. He knew a lot about the theater and how to move around. He was very secure.
So much about being a director is getting the show ready for that first preview audience. I have a lot of experience making events that only happen once; it's opening and closing night in the same three-hour span.
Each movie is different because each audience is different. You're not dictated by what they tell you to do. You're more dictated by seeing symptoms of things you didn't intend, and how you can fix those symptoms.
Some artists I know, they would rather not see the audience or envision them. But for me, I'd rather see them. I feel like part of the reason I perform is to feel that connection. It's the reason I love it so much.
It's tough to say what separates me from everyone else. I guess it's one of the things that the audience feels as soon as the spotlight hits me. All I can say is that I'm being as true to myself the best way I can.
One hopes that with a book or movie, the reader or the audience will emerge from it thinking. That's the most you can hope for: that you've raised questions that will be there for the audience to think about later.
I want to make a film that is commercially successful because that means that the larger cinema-going audience around the world like the movie, which is my goal. That's my job, to make films that people respond to.
American audiences are great. They get what I am doing, but as my band will tell you, nowhere tops the Irish audience. They are just brilliant. They are very open, but the Americans and Spanish come a close second.
Economics is a subject profoundly conducive to cliche, resonant with boredom. On few topics is an American audience so practiced in turning off its ears and minds. And none can say that the response is ill advised.
I really enjoyed multicamera comedy. You film in front of a live audience, and it's kind of the best of both worlds. It's like doing a one-act play every week, but if you screw your lines up, you get to do it over.
I just look at Miley Cyrus, and I'm like, 'Great, you've doubled your audience. But you've also doubled the number of people that hate you, and doesn't that hurt?' It takes a crazy person not to be affected by that.
I wanted to re-examine stories people think they know without the rose-colored glasses of Hollywood and let the audience decide for themselves if people like Wyatt Earp were sinners or victims of life circumstances.
I look at myself, and I see a Spanish person who's trying to be understood by an English-speaking audience and is putting a lot of energy into that, instead of into expressing himself freely and feeling comfortable.
I would say the biggest risk I always take is going in front of a live audience. There's nothing more risky to do. You have to really leave yourself open to your own authenticity, and you find that out pretty quick.
Even though standup seems like one-way conversation, if you're doing it right, it's actually a two-way discussion between the comic and the audience... the audience just happens to be communicating through laughter.
For me and my films, I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional, and I want you to be engaged with not just the scene but with the characters.
Art is for anyone. It just isn't for everyone. Still, over the past decade, its audience has hugely grown, and that's irked those outside the art world, who get irritated at things like incomprehensibility or money.
What's blessed about my life is that I have been able to connect with the global audience on a regular basis. I am thankful for everybody's love, and I reciprocate that, but I also have to deliver on every occasion.
As an artist who performs on the stage, I try to express my feelings and convey my inner thoughts through the looks I give the audience. So, I tend to focus on making sure that my makeup highlights my eyes properly.
There was no audience for my books. The Indians didn't regard me as an Indian and North Americans couldn't conceive of me of a North American writer, not being white and brought up on wheat germ. My fiction got lost.
I'm living my life for an audience of one. I live my life to please God. And I believe if He's pleased, that people like my mother and my daddy, my grandparents, you know, my husband, my children, they'll be pleased.
When the target audience is American teenage kids, you can have problems. My generation prized really fine acting and writing. Sometimes you have to go back to the basic principles which underpin great visual comedy.
With a lot of films, people are sitting on the outside looking in, but I want the audience to get a bit more intimately involved with what's going on, so that they maybe can experience it a little bit more intensely.
It takes two years on the stage for an actor or an actress to learn how to speak correctly and to manage his voice properly, and it takes about ten years to master the subtle art of being able to hold one's audience.
You really have to be careful with the clues you lay into the film - if they're too heavy-handed, or you've pandered to a slightly stupider audience, then you've spoiled it for the people who are even slightly smart.
I have seen and heard comedians who had really funny 'stuff' but yet could not make the people laugh; then, again - I have seen others whose stuff was anything but humorous, and the audience would howl with laughter.
I have an opportunity now with some of the projects I've done, i.e. the North Pole and the South Pole, to speak to a larger audience and talk about things that have nothing to do with physical education or special ed.
'Entourage' is almost required watching in L.A., and everyone seems to have story suggestions for the show itself, which is amazing because it makes you realize the show's really struck a chord and found its audience.
Yes, I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.
What excites me? Had you asked me that question a few years ago, the answer would’ve rolled right off my tongue. Today, I think it's moving and uplifting my audience. Having them get it and go with it. That excites me.
I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.
Keeping it clean is important to me because I'm just aware of my audience. My audience is a younger generation and, just in general, I wouldn't want to show my mom a video of me swearing like crazy. It's good clean fun.
I do not keep a track of numbers as such, but I am definitely aware of how a film of mine is doing when it is playing in theatres. More than the numbers, it is important to know how the audience is reacting to the film.
On 'Question Time,' I've noticed great anger from the audience. When we discuss Brexit, emotions range from white-hot fury to cold, grey apathy. As soon as we move off Brexit, debate is much more nuanced and considered.
Actually, the year anniversary of what you just heard, my son Grahame and I are going to be in a play together, and I'm acting for the first time in front of an audience that doesn't consist of a high school drama class.