The winters are too long, and there's only one airline, so it's difficult to escape when you feel frustrated or claustrophobic. The audience for our films isn't very large, so it's difficult to support an industry. But, Iceland is beautiful. Sometimes it's hard to imagine living anywhere else.
The great thing about stage is that you have a live audience.
I write for an audience that likes what I like, reads what I read, thinks about the things I think about. In many ways, this puts me in opposition to the people who go to the theater generally.
I'm very conscious that I want the dance audience to respond and respect what I'm doing, so I'm always very true to the music and I honour the music in the way I see it - I don't mess around with the music.
Applause that comes thundering with such force you might think the audience merely suffers the music as an excuse for its ovations.
I'm worried that the audience is being conditioned. That's my real fear. Because if they don't want to see wrinkles on the screen, if they actually fear looking at them, then it's only going to get worse. Those of us who don't want to shoot up and cut and sew, we're just not going be cast.
I had seen 'Do the Right Thing' when I was at college, and it was incredibly inspiring as a piece of cinema. Just brilliant, I thought. But saw 'Malcolm X' with a crowded audience. It was my first time in an American cinema, hearing an audience respond. You know, in England, everyone is so restrained.
I think Japanese audiences are much more attentive than a London audience.
Voice work is fun. But about three-quarters of the things you enjoy about acting are just not there. You're not working with another actor; you're not working with an audience. You're just working with a bunch of writers and a microphone. It's very abstract.
As an actor, I've always said, half the audience is going to love you, half is going to hate you so just live with it. It's easier that way.
As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.
I don't want to be above my audience; I want to be one with my audience.
I like Las Vegas because it kind of gives me a chance to gauge my material in front of a very diverse group of people. There are a lot of different people in the audience, and you can kind of get a barometer for how your material plays throughout the country.
You have to keep surprising your audience.
I am a real ham. I love an audience. I work better with an audience. I am dead, in fact, without one.
I always wanted to see if I could sell a movie to the public without doing any marketing because my philosophy was like, 'Hey man, I'm reaching my audience everyday. I'm twittering with them. I'm in direct contact with them on the podcast.'
I love little theatres because it's very intimate, and you can have a very easy rapport with the audience. Everyone's in the same room.
If you're playing a good guy, you show some darkness. If you're playing a dark guy, you show something different, like humor, that will mix it up and hopefully surpass the audience's expectations. What I'm battling all the time is complacency in the audience. I try to bring a little mystery to what might happen because that engages people more.
I'm so critical of my own work that it's difficult for me to disassociate myself and watch it as an audience.
For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.
'Big Bang' is very tightly scripted. Because we shoot in front of a live audience, it's basically like doing a filmed piece of theatre, really.
I don't make films for myself; I make them in order to communicate with an audience.
It's amazing how fast generations lose sight of other generations. One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.
I think the audience would like to see movies that are stunning to watch. I really think they'd like to see spectacles.
Why would they have gone to the trouble to hire the best comedy writers in the business to write funny material for us to play straight, if the children in our audience were the only audience.
I work from a deep sense of insecurity. I have the belief, and I can't shake it, that there are endless reasons to turn the channel. There are hundreds of channels and entirely other things to do besides TV. And if you make a bad television show there's no reason for the audience to come back the following week.
If I wouldn't offend my religion or God, why would I want to offend an audience because in effect those people are being watched over by the same person.
I just can't wait to get out there on stage. There's no anxiety at all. I love being able to take this journey with the audience, because we all have a ball with it - even if we're crying.
If you want to make an audience laugh, you dress a man up like an old lady and push her down the stairs. If you want to make comedy writers laugh, you push an actual old lady down the stairs.
I am a typed director. If I made Cinderella, the audience would immediately be looking for a body in the coach.
Each audience is different.
It crossed our minds early on that the more an audience cared - we were working before, on average, 240, live people. If you could get them caring - the more they cared, the harder they laughed.
The audience changes every night. You're the same person. You have to speak your mind and do the stuff that you think is funny and makes you laugh.
I don't want to be typecast as a heroine who does a certain kind of cinema, which is why I experiment with the types of films that I do. But yes, I won't deny that romantic love stories or romantic comedies are what I enjoy doing the most, because as an audience those are the kind of films that I like watching.
The thing with playing live is, most of the audience is in their 20s and 30s. If you're older than that, you don't tend to go out to shows anymore. So it's good if you can attract a younger audience because they've got the energy to get up off the sofa and go out.
I would advise anyone starting out as a singer/songwriter to play live as much possible. You never know who might be in the audience.
