Quotes of All Topics . Occasions . Authors
You have to understand that you are not making the film for yourself; you're making it for the audience. If I am asking my audiences to buy tickets, I owe them the worth of their money, and I owe them entertainment.
An illustration I use to get people to understand it is this: I'll ask major corporate audiences: Why don't you just take all your traditional beliefs about organizations, and apply them to the neurons in your brain?
A lot of actors seem to dislike typecasting these days. The funny thing is, that's a fairly recent development. It used to be that actors wanted to be typecast so audiences could remember them and identify with them.
I can never say that I don't want to work anymore. That would be an absolute lie because I enjoy, I take delight in, working in films because I feel it's an honour, you know, to entertain people, to regale audiences.
There's a wonderful tradition of jazz people getting on stage and jamming and finding some feeling for music with audiences who may be fresh. For others, it might be just like a comfortable shirt they've been wearing.
Though I am still very vulnerable to audiences - and it happens all the time - where for some reason the energy doesn't connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.
Audiences have taken a liking for supernatural and fantasy shows. The genre is doing well on the small screen, and I wanted to get into that mould. I have never played a naagin, and such roles have always intrigued me.
If I can transport audiences for the three or four hours they're at the opera, to make them forget all of their worries, the bills they have to pay and all that, then I've done my job. That, for me, is very gratifying.
There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.
What I know is that the possibilities are always endless when it comes to 'Hamilton.' It's broken several records. Audiences are really being touched by it, they're being moved by it, and they're in love with the music.
Laika's films aim to promote thought, feeling, and connectivity through art, inspired by our shared humanity. We're deeply gratified that the spirit of our work has resonated so strongly with audiences around the world.
I think it's really important for young audiences to see that you don't have to apologize for being angry when you're angry, and you don't have to apologize for standing up for yourself when people are pushing you around.
You always draw on your experiences with live audiences to know how to do comedy on films. You're working for a laugh that may or may not come six months later, but you're working in a vacuum at the time you are doing it.
My readers and my audiences have turned into my followers. They are more than interested in what I have to say in the subjects of sales, loyalty, attitude, networking, business social media, and becoming a trusted advisor.
Most Americans I play for are clueless as to who Richard Ramirez was, so you can imagine how audiences in Portugal react. I'm not saying they don't enjoy the music; I'm just saying they're a little lost on some references.
It works in the comic book, but as the audiences have gotten older and more sophisticated, I think the stories need to grow up with them. This is a story about a couple of rival gangs and what goes wrong in a couple of days.
I like the more community element of comedy. And I hate people pitting other people against each other. Audiences are always judging you, but when you're being judged for a competition, it just takes away the joy of the job.
Acting is trying to be absolutely truthful; to get audiences to believe that you are a dean, when, actually, not only are you not the dean, but if you walked into the building they'd probably throw you out. That's very hard.
People do still cheer for the President. And some of the military audiences are more likely to cheer than others. I have seen him speak lately in front of groups like Freedom House, where the applause was a long time coming.
There's traditionally been a large disconnection in contemporary art between the audience and the artist. Generally, audiences are looking towards what they like, and I can tell you, that's the last thing on an artist's mind.
I had found English audiences highly satisfactory. They are the best listeners in the world. Perhaps the music-lovers of some of our larger cities equal the English, but I do not believe they can be surpassed in that respect.
One thing I think is really important is chemistry, and if actors have chemistry, audiences will pick up on that. Audiences will root for characters that don't even exist as a couple because the actors' chemistry is so strong.
When Balaji decides to release a film, all you will see and hear will be concerning the film - we go all out! Promotions are a big part of our banner - we believe in marketing... in letting audiences know what they are in for.
In day-to-day commerce, television is not so much interested in the business of communications as in the business of delivering audiences to advertisers. People are the merchandise, not the shows. The shows are merely the bait.
You hear again and again that audiences want to see movies that are different, and critics say we make the same thing again and again in Hollywood, then you go and make something different, and you get kicked in the gut for it.
It is exciting to see the different genres that audiences want to watch. The response to a show like 'Mirzapur' last year and to Delhi Crime earlier this year was so encouraging and a proof that good content is the new formula.
One can never anticipate how audiences will respond. One of the lessons that I've learned over the years is to that no matter what my feeling or opinion might be about a given film, once you give it to the audience, they own it.
He learned through the way that my father and I felt about his songs, his country songs, that they were great songs. And then he went out and sang them for the audiences that we found, and he found a tremendous reaction to that.
I am deeply honored that my team is being recognized by H.S.H. Prince Albert II and the Festival de Television de Monte-Carlo for Disney/ABC's role in creating television that inspires and captivates audiences wherever they live.
'Dating In The Dark' is a unique show that is going to bring something very new to the table for the audiences. The format will make people look beyond the general dating norms of our society: who knows, maybe even reinvent them.
The joy of making a genre film is that you have audiences in that place, and it's a perfect place to start because all it takes is finding ways to startle them out of that complacency and encourage a different kind of engagement.
I find it odd seeing a DJ playing to huge audiences. I know that people have been doing it for a while, but the fact that it's been embraced so much in America now and it's become like this new, big thing, I find it slightly odd.
I have a complex feeling about genre. I love it, but I hate it at the same time. I have the urge to make audiences thrill with the excitement of a genre, but I also try to betray and destroy the expectations placed on that genre.
Empathy is much bigger than sympathy. When the character is empathised with, that means you have succeeded as an actor. So even if it's a villain, the audiences don't hate you... they understand why you have turned into a villain.
London audiences are tricky, too. They don't laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.
I'm doing 5000 seat theaters and audiences are going nuts, it's fantastic and it makes me very happy. I'm dirty, but not like this; I just do comedy that I find funny. I'm working on a new tv show for cable and it's not set up yet.
British audiences tend to want to see their own lives reflected on TV, whereas American audiences are quite aspirational and enjoy high-concept shows that show them lives that are perhaps slightly more exciting than they aspire to.
I've always seen myself as one of those 'show people.' My earliest memories are wanting and needing to entertain people, like a gypsy traveler who goes from place to place, city to city, performing for audiences and reaching people.
In the best traditions of American comedy, from its beginnings through the crash-bang comedies of the 1990s and 2000s, Leslie Nielsen skewered the otherwise proper, did it with mischievous delight and convulsed audiences mercilessly.
I have to expose myself and then accept the judgment that audiences and critics will have. And that's okay. I appreciate the elliptical nature of it. Sometimes people are more in the mood to be nice to me than others, and that's great.
Let's put it this way: art house theaters are vanishing. They have almost disappeared completely, and that means there's a shift in what audiences want to see. And they have to be aware of that and be realistic. It's as simple as that.
Insight into character comes from listening intently to the spoken word. The physical person, their charisma, charm and dramatic flair is more often used to persuade audiences, as they use these stealth tools of disguise and deception.
My journey is different from other star brothers, kids, or sisters. I think that is one of the main reasons that people don't question me on this. So far, the media and the audiences have not really roped me into the ambit of nepotism.
I lose tons of stuff on the cutting room floor. For Scary Movie 3, for example, we had a lot of Matrix spoofs, a Hulk scene, and some of that stuff just doesn't hold up - it's too much plot, audiences just didn't want to hear about it.
Vegas has the Whitman's Sampler of audiences. They come from all different places, so you have to do some crowd psychology. You have to find the heartbeat of the room. It doesn't shift my jokes, but it shifts my timing and my attention.
Our approach is not to look at the successes of other people and try to repeat those successes. We don't look at the success of 'Grand Theft Auto 3' and think that maybe if we create games for older audiences will see a similar success.
I think the problem with 'YouTube Rewind,' at least how I see it, is pretty simple actually. YouTubers and creators and audiences see it as one thing and, YouTube, who's in charge of making it, sees it as something completely different.
'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.
After I graduated, I tried Broadway, which was difficult for me. It was tough to get a part on Broadway, so I just started talking to audiences at different social gatherings, and little by little I became Don Rickles - whatever that is.
Apart from 'VIP' being a blockbuster movie, the various characters such as mine, the Luna bike I use in the movie, the lovable amma and appa, a pet dog named Harry Potter, the innocent brother, etc., had a huge reach among the audiences.