You either entertain an audience or you don't.
Capturing intimacy is pretty much the only thing I'm interested in. That's what excites me and what I find beautiful in movies personally - that almost obscene sense that we shouldn't be this close to these people. I find that very inviting and meaningful as an audience member.
That stupid postmodern emphasis on image over content has slammed us right into a dramaturgy that willfully leaves the audience behind and then resents the fact that they don't 'get it.'
If you look at 'Avatar,' could you imagine if you did 'Avatar' for 50 million dollars? It would be ridiculous! You would almost be getting laughs from the audience, unless you got a real indie director to do something incredibly stylised.
Who doesn't love a 'Lifetime' movie? I think that they know their audience so well.
For us, we are interested in doing what's cool for us and what's cool for the audience. That's it.
When I first read 'The River,' I had theories on what it was about, but once we got into rehearsal, I realized it's much simpler: It's about how human beings try to connect. The play holds a mirror up to the audience, and they take from it what's relevant to their lives.
There's an assumption that my audience is all these bearded twats from Dalston. But actually, quite a lot of older people go. For them, it's like pre-alternative comedy, when there was Dave Allen or Jackie Mason or someone. Also, weirdly, because I don't really swear, they're not scared off.
I don't think about who the audience is for my books.
I don't think that I will say that we are less talented in Bollywood, but our functioning is different. We cater to a different kind of audience.
Pantelion and Televisa can reach my core fan base better than anyone, and with the distribution expertise and brand recognition of Lionsgate, I know we can build on the crossover audience that we began to reach with 'Instructions.'
I don't go for holidays or celebrate my success because I know nothing is permanent. I don't let it get to me - like I am India's top director with too many hits. If that happens, I might lose the connect with my audience. The day I go wrong, they will run away from me. I want to be like an assistant director all my life.
I don't perceive an audience at all when I write a book. It's pure self-indulgence.
When I make movies, I have a lot of respect for my audience. I think my audience is smart. If there's a way to be entertained and get things out - real things, not stupid moral crap - that's the best.
You don't work as hard to watch a movie. You work harder to watch a play, so what the audience puts into it is interesting.
I passionately believe if you put on an act, the audience will be able to tell. That does not mean that I am going to be talking in top volume all the time in private conversations... Clearly, broadcasting has to be an extension of yourself; it's an exaggerated version of you.
For my part, if the audience wanted to see Dracula again, I would be happy to reprise the role. It is an immortal character that can appear anywhere because it lies beyond time. Possibilities are endless.
If I produce it, I will stage it as a performance. A small audience will be invited; rehearsals of the sections will be done in the mornings, and those sections will be recorded in the afternoons.
'Downward Spiral' felt like I had an unending bottomless pit of rage and self-loathing inside me and I had to somehow challenge something or I'd explode. I thought I could get through by putting everything into my music, standing in front of an audience and screaming emotions at them from my guts.
The two Hindi movies that I did were not marketed well, and so not many people came to watch the film, hence the audience doesn't know much about me. I am a newcomer, and I cannot sell a film on my own. There has to be a backing in terms of producers.
There are lots of actors who insist on speaking the lines themselves, and you hear the same thing from directors and the audience, but I don't think it's worth getting het up about. I think it makes more sense to use someone who speaks that country's language: that's what voice actors are for.
I'm a great admirer of 'The Simpsons.' It's very surprising because it's backed by a right-wing television company in the U.S., and quite often it's poking fun at the people who would be its audience.
Finding your way doesn't mean surviving, just as pleasing an audience doesn't mean twisting your editorial around search engine optimization and Facebook algorithms.
Initially, I had started doing theater, where the actor has a direct relationship to the audience. So, moving into film and television disconnected me. When you do a film, you start to get the character, and then it disappears for a year before it's released and you get feedback.
It sounds like I'm joking when I say it, but when I wrote 'Take Me To Church' and a lot of these things, I didn't think they would be hits. I thought I was writing for a potentially smaller audience.
That's the nice thing about being a live act. I can get the audience, but it's for the moment. It's like, 'Can I do it tonight?' And you can see when people like you. But on record - and with the pen - it's almost for all time. Really, a lot more thought has to go into it.
As much as we love playing the small clubs, we'd really like to get ourselves in front of a larger audience. I'm not talking about arenas or anything, but nice theaters and larger clubs.
As a producer, I want to back projects, talents, and scripts that speak to me not just as someone from the industry, but as an audience.
You can do 'Hamlet' while performing cartwheels... as long as the audience sees your eyes - you can make the performance real.
In Paris and later in Marseille, I was surrounded by some of the best food in the world, and I had an enthusiastic audience in my husband, so it seemed only logical that I should learn how to cook 'la cuisine bourgeoise' - good, traditional French home cooking.
My career is too short for there to be any turns! But I would say that not everyone is noticed and accepted in their debut films. I was accepted both by the industry and the audience.
The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say 'sophisticated.'
There's something really liberating standing in front of an audience and playing live. It's a very communal experience, because we're giving a lot from the stage, but the crowd is giving a lot back to us, and it ends up feeling like family by the end of the show.
Holding auditions in front of an audience is testing.
Even if I see 300 'X-Files' fans together, I can't fathom - I cannot imagine - the audience itself. All I think about is the show and all I think about is why I like it and why I like to write it and why I like the characters and what I have to say through them.
I grew up with music hall and revue and was used to filling in the little gaps here and there to get bigger audience reaction.
