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Audience Quotes

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Audience Quotes

“Opening a play is just tough. The idea that actors are weirdly protected from it is a myth. If you imagine yourself having to spend two and a bit hours cooking bolognaise, remembering a whole major work by David Hare and speaking it at the correct moment between chopping carrots and stirring the onions in front of an audience - the normal human response is 'Please, can I go to the airport?'”

“I always try to bring a little bit of my own personality to the character, or some sort of personal connection makes it a little bit more of an organic portrayal and the audience can kind of maybe believe it a little bit more. But I always look for something to kind of connect with and identify with, or bring something of myself to the table.”

“Drama is life with the dull bits left out. There is no terror in the bang, only in the anticipation of it. I believe in putting the horror in the minds of the audience, and not necessarily on the screen. The length of a film should be directly related to the endurance of the human bladder.”

“I love storytelling. If you strip all the bits away, what you'll find at the center is a storyteller. As I warm to my career and love it more, I have a sense that storytelling is healing, in many ways. You can reach an audience and heal, and by heal, I mean entertain and provoke. It's a wonderful life.”

“The brand is lying about something, or at least misrepresenting it. When I read a bottle of shampoo or moisturizer or other beauty product, I always perceive a dark subtext. The words haunt me. It comes across as humorous to the reader/audience, but in fact the words really do make me a little bit queasy. Nothing is as easy or natural as consumer brands want us to think - no problem is as resolvable. Your hair will fall out, eventually. Yet we do have these brands, and we line our shelves with them. There's an inherent irony.”

“Eric's performance is an awesome and entirely honest expression of the pain and beauty of his music. To watch him play is like riding on the tail of a dragon, but he is so gentle with his rider, you forget how high up you are or how intense the ride is. He is perhaps the most generous performer I have ever watched, every bit of himself is given to the audience. He's like a Marina Abramovic with a piano, completely and deeply committed, regardless of that pain.”

“Well, good science fiction is intelligent. It asks big questions that are on people's minds. It's not impossible. It has some sort of root in the abstract. So automatically you're getting closer to potentially divine sources of interest because it is abstract. It's one of the only ways that a film actor can express himself in the abstract and have audiences still go along for the ride. They don't contend it. They accept it, that they're going to go places that are a bit more of the imagination, a bit more out there, and that's more and more where I like to dance.”

“Good genre movies are a little bit like trying to write a haiku. There are certain things that you have to do to fulfill the audience's expectations, but inside that, you have complete freedom to talk about whatever you want. Who wants to see a movie about gun violence in America and class? But, if you set it in this terrifying, fun, roller coaster ride of a movie, you can talk about whatever you want. That's been the game that genre movies play, when they do it well.”

“I've always thought of characters like advent calendars. You have Christmas and you have all the little doors over the windows and every day you're allowed to open one more as it gets towards Christmas and you see more and more about what's inside that house.I remember as a kid being fascinated by that and I've always thought of my character as a little bit like that. I like to have secrets and slowly let those secrets out to the audience, sometimes never let them out, but let them see as you open the shutters, open and see a little bit more of a character.”

“Making a fantastical world real is a bit of a challenge, for sure. When you're on set and you have a green screen you're working with where you'll pretend there's a giant lizard chasing you when there's nothing there. Being shown the images of what the creatures were going to look like and then having to react to them realistically without feeling like you're a crazy person. You kind of have to go for it. In order to sell it to the audience, you can't really hold back.”

“I've dabbled in running around on stage, and at certain times it's nice to step away from the anchor of the piano and use a handheld microphone and connect with the audience, but I think my soul as a performer is just a little bit more connected to the instrument. To just sort of sit and sing - that feels like the most natural fit for me.”

“With a comedian, it's the opposite. You put that album out, and they've heard it. If they're coming out to see you, you'd better be doing new stuff. There's always a tiny part of the audience that want to hear certain bits of yours, or they've brought friends to see you, and they've told them about some of your bits. Then maybe you should do them.”

“I think what's exciting about doing it as found footage - if we all are being honest, found footage gets a little bit of a bad rap sometimes, but I think that there's a lot of potential in the medium in taking it seriously and in treating the audience with respect and in treating the characters with respect in terms of, why is the camera really on? Where would the camera be when it is on?”

“I started to make harder jokes before anyone else did. And the producers would get anxious. They'd say, 'That's a little bit hard-edged, isn't it?' And I'd say, 'Let's just try it and see how the audience reacts. If they don't like it, let's cut it out.' And the audience roared with laughter, so I learned you could do this harder humor and people loved it.”