I've come to recognize what I call my 'inside interests.' Telling stories. And helping people tell their stories is a sort of interpersonal gardening. My work at NBC News was to report the news, but in hindsight, I often tried to look for some insight to share that might spark a moment of recognition in a viewer.
I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.
One doesn't make art for other people, even though I am very concerned with the viewer.
So, in other words, how you respond to a sculpture, how a viewer sees the sculpture, is vital.
But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.
I am like the perfect horror movie viewer because I do not get scared very easily.
I have a very high tolerance for gore and blood. I am, like, the perfect horror movie viewer because I do not get scared very easily. I can really stomach anything so, as a result, I have watched a lot of really disgusting stuff that I should probably never have seen.
I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.
The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.
I didn't watch much television growing up, and before I did 'Boston Legal,' I had no understanding of what it was like for a viewer to look forward to finding out what was going to happen the next week.
A show like Knots or any other show that can be called a soap opera does terribly in syndication because if you're a viewer and you miss a week you don't know what's going on.
I want to break into the acting industry. It's something I have a great deal of respect for; it's a passion of mine. It's so amazing, the differences between acting and being an athlete, but the one commonality is they both evoke emotion in the viewer. And those emotions are real. So I think that's pretty cool.
A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.
I hope they see the genuine side of me, of my music, of my voice. I hope that they feel me. I hope that what I sing and what I say really gets across to the viewer because everything that comes out is true.
I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.
The art of photography is all about directing the attention of the viewer.
The viewer must bring their own view to a photograph.
As a viewer, my own work elicits strong emotional reaction from me.
All movies assault the viewer in one way or another.
What I learned, a little too late, was that the 'traditional' Martin Short target viewer weighs under 300 pounds. Unfortunately, I was on during daytime.
Comedy is like horror - you have to shock something in the viewer's system to make them feel it.
I really liked the script of 'Alone.' I thought there were a lot unexpected things in the film, which I would want to watch as a viewer. I did not think like I was doing a horror film; I did not think in terms of genre. I decided on the basis of the script.
I'd seen 'The Sopranos,' but I wasn't a faithful viewer because I can't handle it.
I didn't really want to do another sequel. I go to those movies, and I just sort of enjoy them like a viewer.
I do feel if we underestimate the viewer, it's at our own peril.
Right right, because up to that point I had not been a viewer, and I didn't know alot about the show, it was all new to me and the cast members were wonderful!
I love Bollywood as a viewer, but going in front of the camera and singing and dancing is not my thing.
There are always two people in every picture: the photographer and the viewer.
My popularity has to do with the divorce between modern art, where everything is obscure, and the viewer who often feels he needs a professor to tell them whether it's good or not. I believe a painting has to talk directly to the viewer, with composition, color and design, without a professor to explain it.
On television and in the movies, crimes are always solved. Nothing is left uncertain. By the end, the viewer knows whodunit. In real life, on the other hand, many murders remain unsolved, and even some that are 'solved' to the satisfaction of the police and prosecutors lack sufficient evidence to result in a conviction.
I don't believe in using too much graphic violence, although I've done it. It's better to be suggestive and to allow the viewer to fill in the blanks in their minds.
For me, photography is not just about exposing film, it's about exposing the viewer to something new, a place they haven't gone before, but most importantly, to people that they might be afraid of.
The need to look behind the curtain is great for a filmmaker. But whether you want to deconstruct what you like as a viewer, what you like and don't like, I wish we could let films stand on their own a little bit.
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.
All the 'Today show' viewer wants, I think, is a friendly face.
'Doctor Who' is where my love of science fiction and fantasy started. I was introduced to it when I was 8, and I'm still an avid viewer.
