That's really what keeps me playing live - appreciation. And I guess I've made a lot of wiggle room for myself to try different things and discover what I'm doing, and the audience accepts it.
It felt really nice to not have anybody talking about numbers, and no one is talking about ratings. From my experience, it felt like there was one person running the ship and it felt like there was space for Jenji to be at the helm. That's not what I've experienced in television before. It felt more akin to an interesting movie, where there were producers who were really excited by the work and wanted to make space for the director's vision to be sort of shared with an audience. It felt more cohesive.
I remember going onstage on Broadway in this Leigh Bowery thing for a track like "Ich Bin Kunst." I've got breasts, this latex dripping down on my head, and I come out in a box. I just remember the audience looking really horrified because Rosie [O'Donnell] was trying to sell the show as sort of Pippin and Annie. She was saying it's a family show.
It's very important to me to find ways to relate the audience to the characters. This is the first thing to go in most mainstream horror films.
I like movies that leave things in the hands of the audience.
In movies, you can basically buy the audience into the theater. If you spend enough money on visual effects, even if you are lacking in story and character, you might still pull it off.
I'm used to something where you have to create an entire world, and I do like that process. I like getting the audience to believe that outside of the frame of your television set, there's a whole real world that exists, that is different from your day-to-day reality.
You have to realize that people who bother to log on to anything and talk about a television show is a very specific fraction of the audience. It's not the general audience, so you can't get too crazy listening to just that. That's not representative, but they are the most dedicated.
When you watch an audience watching my movies, you realize that nobody laughs at the same time. Some people enjoy a beat, and then another group of people are laughing at a sight gag, and then someone laughs where nobody laughs before. They're not timed like a comedy. You're not supposed to laugh at every joke. You decide.
Every time an actress is celebrated for her great work, I cheer. For the more brilliant their performance, the more the audience demands stories about women... And as we all know: a great year for women in film, is just a great year for film.
Some of the downbeat pictures, in my opinion, should never be made at all. Most of them are made for personal satisfaction, to impress other actors who say "Oh, God! what a shot, what camera work!" But the average person in the audience, who bought his ticket to be entertained, doesn't see that at all. He comes out depressed.
Look your audience straight in the eyes, and begin to talk as if every one of them owed you money.
It was only in South Africa that I got over this shyness, though I never completely overcame it. It was impossible for me to speak impromptu. I hesitated whenever I had to face strange audiences and avoided making a speech whenever I could. Even today I do not think I could or would even be inclined to keep a meeting of friends engaged in idle talk.
On any given night, what allows me to get to that higher ground is the audience.
My plays are always involved with society, but I'm writing about people, too, and it's clear over the years that audiences understand them and care about them. The political landscape changes, the issues change, but the people are still there. People don't really change that much.
At 25, I was in the audience of my first professional speaker, Bob Bales. His presentation got my attention. I had never seen anyone having so much fun 'at work' and getting paid for it!
I would like to initiate an initiative - the Broadway Annoying Audience Member Relocation Programme.
I've had frank conversations with theaters who say, 'We love your play, but we've already done a play by another black person this year,' or 'I don't think the kind of people you write about are the ones our audience wants to see'... Up and coming young black female writers are still struggling to have their voices heard and have their plays produced.
Prisoners are the greatest audience that an entertainer can perform to.
It's absolutely physically demanding to play the role of Wolverine. There's a lot of action, and I try to do as much of it as I can because it's better for the audience.
I think it’s really, really important to mix it up as an actor, to try to get as much kind of varied experience as you can, not only for your own personal growth as an actor but for the audience to keep them guessing about what you’re going to do.
Point of sale is where you reach 100% of your audience 100% of the time.
When you're dealing with shooting a lot of live action in 3D, you're committed to how much 3D you're giving the audience.
No matter what, I will always choose practical FX over digital ones. Blood spray pumps and squibs go a long way in convincing the audience that the carnage on screen happens right there, in a manner that digital have not achieved.
Theater is like boxing - having the audience ringside. It's instant gratification. Or horrification.
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