I have been fortunate that publications like the 'New York Times' and 'The Wall Street Journal' have allowed me to share some of my opinions with a wider audience.
I like the idea of the audience absorbing the language and getting to understand it as they journey through the film. It starts off being more obscure, but you get used to it. A 'Clockwork Orange' thing. I read 'Clockwork Orange' without any vocabulary, and I got to understand the words as I went through it. I like that process. It immerses you.
What good is a character who's always winking at the audience to let them in on the secret?
You want the audience to be in the character's shoes. The more deeply into the character's shoes the audience is, the more they're going to care about what's going on.
I have very simple ambitions. If I can just not be boring, I'm ahead of the game. It's hard in television. I think you get enormous reward from the audience. Just give them something they didn't see coming, and you get enormous points.
I'd say Rob Reiner's 'When Harry Met Sally' is my all-time favorite. It made me realize there's a way of telling a story where the audience is so in love with the characters that they forget you're even telling a story.
To be successful in talk radio, you have to have a conservative audience as well. Not enough liberals listen to it.
It doesn't matter as long as there's interaction between me and the audience. That's why they come.
First paying gig, I got 20 bucks. I played at some really weird venue. I don't remember the venue; I just remember it was the last stop on the A train. It was, like, the Far Rockaways, Queens, and it was an audience of, like, three people.
I think it's the most wonderful thing in the world to have an identity, something the audience can remember you for.
When I am shooting, I am inside the theatre, when I am in the editing room, I am inside the theatre. I always try to feel what they will feel. I see a film, not as a director, but as the audience. If I am entertained, they will be, too.
Would Hamlet have felt the delicious fascination of suicide if he hadn't had an audience, and lines to speak?
I don't enjoy sparring with the audience. It devastates me.
The innovative process is a fragile one, dependent on a complex, often messy interplay of imagination, competition, and exchange. Curbing new ideas hurts not only individual creators but the audience for which they create and the posterity that inherits their legacy.
The live performance aspect of shooting a multicamera sitcom is wonderful. You have that instant audience reaction.
You can't write a thing that is hermetically sealed; there has to be a way for the audience to get in and participate. I think that's a massively valuable discipline for any artist.
I learn more from the audience than I can from anybody else. Not from what they write on the scorecards, but how they respond to the movie while they're watching it - where they laugh and where they react.
I use Twitter as a tool to get involved with people, to sell tickets to gigs where I can stand in a room and smell the audience - and I love that!
As goofy as it sounds, I try to sing in the morning. It's hard both to sing and to maintain a grouchy mood, and it sets a happy tone for everyone - particularly in my case, because I'm tone deaf, and my audience finds my singing a source of great hilarity.
My films play only in Bengal, and my audience is the educated middle class in the cities and small towns. They also play in Bombay, Madras and Delhi where there is a Bengali population.
It's very intense to be in front of a live audience. It's just an amazing experience. It's dangerous. Everything out there is heightened. The bad stuff is extra-worse. The silences are extra-silent. The good stuff is amazing. It's electric when you walk out there. For 90 minutes, you're on this other planet.
I was kind of a Rickles comic to begin with. I was caustic, and I was abusive and mean to the audience.
I can really serve the audience instead of making this about me and about serving myself and my pocketbook.
My favorite audience is everybody. I worked in a drive-in theater from the time I was 8 years old until I went to college, and I'm accustomed to everybody can buy a ticket and everybody should be taken into account.
'Pretty Little Liars,' you know, it's a teen show that grew to be something bigger. I think you had girls from ages 7 to, like, 20 watching the show, and that was the predominant audience. Then it grew to be for girls, boys, men, women, people who are 7 to 35. I think that's crazy.
I'm not a fan of 3D as an audience member. I'm too old for it. I don't like wearing the glasses over my glasses.
It seems that we're heading toward the day that films will be released in all platforms simultaneously, albeit with a cost premium to see it at home. But I hope that theater-going doesn't end - I think that watching movies on the big screen with an audience is still the best format and also an important one for society.
I think there's still an appetite among a certain audience to see intelligent movies that have real emotion in them.
I don't think anyone ever gets over the surprise of how differently one audience's reaction is from another.
Ratings have changed, viewer habits have changed and the options for the audience have grown enormously, but I don't think how you tell a story is fundamentally different.
I have to feel the audience. I enjoy that feeling of community. There's something sort of spiritual about it in a lot of ways. It's like we're all doing this together.
When I play live, I feel how the audience is going and follow and lead at the same time.
I was a huge fan of video games; I wanted to write something, and I saw the tools at my fingertips to upload a video to my audience, and that's why I'm here today. I think that freedom and the lack of gatekeepers, combined with people's passion, is what really the true spirit of Internet geekdom is about.
One thing that probably is unique at Activision is that we really spend a lot of time up front with our audiences, and in big quantities and with a very thoughtful process, to really try and draw out from them what it is that they would like to play. So we have a pretty good sense going in what the expectation of the audience is.
Usually, when we're performing 'What About Your Friends' or 'Waterfalls' comes on, they all know the dance. It's like a sea of TLC dancers in the audience! It's so beautiful to see. I just love it so much.
When you work in television, it's an isolating experience. You rarely ever get to watch it with an audience.
