Nobody roots for people who presume success. You have to earn success, and success is earned by making a movie that audiences like and want to see more of.
I was an executive before I was a producer, and I've seen franchise fever grow, over the course of my career. The one thing that people always forget is that it's only a franchise if audiences really want to see more of it. It's up to them. It's really not up to us.
There comes a point when you've exhausted your opportunities playing good guys. I've been around long enough, I think I'm entitled to explore a bit. But what I saw there was an opportunity to play a character different from what the audience's expectation was. A chance to take their crude experience of me - of my iconography, if you will - and turn it on its ear at an appropriate juncture in the film to be useful to the process of telling the story.
There are two kinds of audiences. There's the ones who were in the theaters, and the ones who are outside and we want them to come inside the theater. And, it's not the same.
The days of holding the audience captive to watching television at times that programmers tell them they have to watch it are coming to an end. It's a new world, where the viewer and fan wants to watch whatever they want to watch, whenever they want to watch it.
As an actor, you really want to resonate with your audience. I played a character on Oz and people still approach me in the streets today.
You learn quite a bit about your film from test screening audiences. With both comedies and movies that are intense, you need to calibrate the film and see how audiences react.
You shouldn't need 60 full minutes to create a portrait that an audience doesn't forget. You should be able to make an impression that's lasting and resonant with one scene.
I always made up my own acts; built them out of my knowledge and observation of real life. I'd had wonderful opportunities to study people; and every time I went out on the stage I tried to show the audience some bit of true human nature.
Muslims naturally saw Christendom as their arch rival. One point that is really important to bear in mind, particularly in addressing an American audience, and that is that the Islamic world has a very strong sense of history. In the Muslim world, history is important and their knowledge of history is not always accurate but is very detailed. There is a strong historical sense in the Muslim world, a feeling for the history of Islam from the time of the Prophet until the present day.
Whatever the scientists may come up with, writers and artists will continue to portray altered mental states, simply because few aspects of our nature fascinate people so much. The so-called mad person will always represent a possible future for every member of the audience - who knows when such a malady may strike?
It's not really a good sign when your audience applauds Satan.
[Doogal] wasn't even animated. It was still and the audience had to move.
Critics are giving marks for originality, acting, photography and scripting, while mass audiences are more drawn to familiarity of genre, stars they would like to have sex with or plots that are more likely to make their dates have sex with them. Reviewers are doing their day's work, cinema-goers are escaping from theirs: this leads to an inevitable difference of response. It is, though, wrong to conclude that reviewers are completely useless. Books, movies and shows may be critic-proof, but the egos and psyches of the people who make them very rarely are.
The start of a film is like a gateway, a formal entrance-point. The first three minutes of a film make great demands on an audience's patience and credulity. A great deal has to be learnt very rapidly about place and attitude, character and intent and ambition.
You can't expect the audience to feel anything if you don't.
I'll probably pay more attention to the musicians in the pit than the stars because they're the closest you're going to get to normal people in the audience.
It's a Samurai story [47 ronin], so if we change too much Japanese audiences will have strong against feelings to the film. It's not good.
I remember feeling the temperature change the first time the curtain came up, the difference between the audience temperature and the stage temperature. I'll never forget it.
I love watching audiences scream. I imagine it's the same joy that a director feels who has made a comedy when he or she is sitting at the back of a theater listening to the audience laugh. That sound of laughter is so sweet to a comedy director and that's exactly how a horror film feels when you hear the audience scream.
When you have an audience, and you have people who want to see your character and want to see you, it's really amazing.
And so, in terms of setting the right tone and finding a way of presenting all of these things, that creates a cohesive whole and doesn't alienate the audience, is tough. That's a challenge. And I think the tone of a lot of shows is discovered through experimentation and actually making it. Eventually, it starts to cohere.
I've heard a lot of variation of similar questions, but it's interesting to see the variations of audiences and how different people respond, so I think it's all valid. I don't take it personally at this point, which I probably would have at Sundance. But it's really thrilling.
I always want to be a member in the audience, and I want to hear it from their point of view and see it from their point of view so I can know if it's good. But that's just my issues, not a real problem.
My music already has this oldish kind of quality to it, like you don't necessarily know what era it was recorded in, so it all kind of felt surreal and weird. Night after night when I played live, I was really trying to figure it out in real time, and I still don't know what effect I'm going for or what effect I actually achieve. Looking back, I feel like it would be arrogant of me not to appreciate the fact that I've been able to do whatever I want and still have an audience come see me.
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