I really like reaching out and seeing the audience - they're potential audiences! And on occasion I can make them excited about going to the theater again, if they've ceased or gone less.
I thought 'The Artist' was a perfect way to find a good balance. The artistic challenge is obvious because the film is black-and-white and its silent, but I did my best to make the movie accessible and easy to watch. I really don't want to make elitist movies. I really try hard to work for the audience. Audiences are smart. They get everything.
No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.
As an actor, you know when you've got great material in front of you. When you're working, you think, 'Is this the one? The one that everyone will respond to and be moved by?' You pray that you have told the story well... that your peers will see it and audiences will love it.
I've always seen myself as one of those 'show people.' My earliest memories are wanting and needing to entertain people, like a gypsy traveler who goes from place to place, city to city, performing for audiences and reaching people.
Christopher Reeve did such an amazing job that to give him some kind of accent or more bravado would have been wrong. Audiences wouldn't have responded to that either.
I've been at this for 40 years. And, as an academic, I've been content with relatively small audiences, with the thought that the audience I long for will find its way eventually to what I have written, provided that what I have written is good enough.
Documentaries are a powerful and effective way of bridging the gap between worlds, breaking through to new audiences that wouldn't otherwise be engaged - in essence, not preaching to the choir.
Movies are a fad. Audiences really want to see live actors on a stage.
We're making this huge changeover from underground to more mainstream audiences. I don't know if we could ever repeat this type of feeling. We're really excited.
I like surprising my audiences, and it's compulsory to have fun and be silly; I never take myself quite too seriously.
The thing I do, really, is a communication with audiences more than any achievement through records.
Different authors write different ways, have different relationships with their audiences, and those are all legitimate.
I don't blame folks for not wanting to put me in their movies or whatever. I understand if their audiences had an association with me.
So that, to me, is important that audiences are treated with an amount of respect toward their intelligence. Most Hollywood films don't respect their intelligence.
I give a facial expression in a moment of silence for audiences to react to what I just said and kind of let that marinate with the audience for a little bit. I enjoy the physical part of the comedy as much as the verbal content. People tend to gravitate to not only what they're hearing but also what they're seeing.
Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.
The difference between critics and audiences is that one is a group of humans and one is not.
Cinemas gained new young audiences who wanted films made for them.
I lose tons of stuff on the cutting room floor. For Scary Movie 3, for example, we had a lot of Matrix spoofs, a Hulk scene, and some of that stuff just doesn't hold up - it's too much plot, audiences just didn't want to hear about it.
But you can't really know your audiences so well.
We're making a commercial Hindi film catering to all types of audiences.
Audiences are audiences.
There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.
I worked at NBC and MTV for two years, and it was very interesting to see the comparisons of audiences and the way that I would have to present a story to the two different places.
On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.
In the West, audiences think I am a stereotyped action star, or that I always play hitmen or killers. But in Hong Kong, I did a lot of comedy, many dramatic films, and most of all, romantic roles, lots of love stories. I was like a romance novel hero.
Needless to say, anybody who can stumble through a C-major scale knows that Art Tatum always gave his audiences 10 times their money's worth.
You look around our audiences, and you see the spectrum - old fans and young people.
It's truly gratifying to see my films reach beyond a familiar public, to get a chance to move new audiences. It's nuts. It's extraordinary.
I think there's a kind of love relationship between an actor and an audience, and this is something I really feel with the audiences in France.
Audiences in London called me the girl with the black cherry eyes.
Ronald Reagan knew audiences. It was a key element of his political genius. One of the things at which brilliant politicians are better than mediocre ones is smelling new public concerns over the horizon before they are picked up by polls - before the public even knows to call them 'issues' at all.
When I lived in London when I did 'Wicked' there, everyone told me the audiences might be much more reserved, but I found it was completely the opposite. They jumped to their feet sooner, even more enthusiastically than the New York audiences did, and they were just as warm and as enthusiastic and supportive as New York.
Audiences are the same all over the world, and if you entertain them, they'll respond.
It's good to be on the power list, but I don't see a practical use of it except when people introduce me to audiences.
