“IN PERSIA I SAW that poetry is meant to be set to music & chanted or sung--for one reason alone--because it works.A right combination of image & tune plunges the audience into a hal (something between emotional/aesthetic mood & trance of hyperawareness), outbursts of weeping, fits of dancing--measurable physical response to art. For us the link between poetry & body died with the bardic era--we read under the influence of a cartesian anaesthetic gas.” ArtReasonBodyAudienceSawsInfluenceEmotionalFitDiedDancingResponseMoodErasCombinationGasTunesPoetry IsLinksMeant To BeAestheticWeepingPlungeTranceOutburstPersia Author:Hakim
“Ultimately, what we do as musicians, I think of us as a type of emotional engineer. We essential take these sound waves, this sound, and we organize it into emotion, and that's how we connect with our audiences.” ThinkingSoundEmotionAudienceEmotionalTypeEssentialsMusicianWaveEngineersOrganizeSound Waves Author:Stefon Harris
“First and foremost, I'd say my father, Bert Lahr ... gave me a love of theatre--its kinetic and emotional potential and its raffish backstage fun--and also set an artistic example of the importance of corrupting an audience with pleasure.” FirstsFatherFunPleasureAudienceExampleEmotionalImportanceTheatreArtistic Author:John Lahr
“If you can get the audience to talk to the screen, I just thought that was so cool, and I wanted to do that. And I just leaned towards the scary and the thriller. I find it very emotional. I want to make emotional horror. If I can make you cry, than you have a full experience.” IfsWantI CanWantedAudienceCryEmotionalHorrorScaryScreensThrillersMake You Cry Author:Kevin D. Williamson
“The real challenge in acting is in comedy. It's easier to get that gasp in a drama. Not easy, because you still have to find that emotional pitch. And when you do something in drama and you hear that sob from the audience it's so fulfilling. But as a comic actor, when the laugh is supposed to come and you punch in that line and nothing happens it is dreadful. It's horrific and you feel like dying right there.” FeelsStillsRealHappensActorsEasyChallengesLinesActingAudienceLaughingComedyDyingEmotionalEasierDramaThings HappenComicFulfillingHorrificFeel Like Dying Author:George Takei
“Aristotle writes that persuasion is based on three things: the ethos, or personal character of the speaker; the pathos, or getting the audience into the right kind of emotional receptivity; and the logos, or the argument itself, carried out by abbreviated syllogisms, or something like deductive syllogisms, and by the use of example.” WritingKindCharacterUseThreeAudienceExampleEmotionalArgumentSpeakersPersuasionThree ThingsEthosLogosPathosReceptivityPersonal Character Book:Propaganda and the Ethics of Persuasion - Second Edition Source: Propaganda and the Ethics of Persuasion - Second Edition
“I have a really good idea of who my readers are and always write with a sensitivity to my audience. I use the F word when necessary, but there are words I won't use, mainly because I don't like them. I don't write about body parts when I write about sex. It's not about the physiological, it's more important for teens to read about the emotional aspects. I do think there are times when self-censorship is important.” ThinkingWritingImportantIdeasSelfUseBodySexAudienceEmotionalReaderAspectGood IdeasCensorshipTeensSensitivityPhysiologicalSelf Censorship Author:Ellen Hopkins
“Starting in music, where I get a chance to connect with the lyrics of a song, I learned so much about performing on stage and connecting to your audience and to what you're singing about. Singing is very emotional. Every song has its own purpose.” PurposeSongChanceAudienceStageEmotionalSingingStartingPerformingConnectingPerforming On Stage Author:Naturi Naughton
“When you're writing for the screen you're really thinking all the time of what you have to do to make sure that they have the information that they need, that the emotional thread is not snapped, that the story moves at the right speed, to keep the audience hopefully sitting on the edge of their seats or else weeping or laughing.” ThinkingNeedsWritingStoriesMovingAudienceLaughingInformationEmotionalSittingEdgesSpeedScreensHopefullySeatsThreadWeepingSitting On The Edge Author:Salman Rushdie
“I think it's really important, when you're redefining a character [ Spider-Man], for the audience to experience things that they haven't experienced, from the ground up. I wanted to build a character. I feel like point of view is a really crucial thing in the story, and that you need to build up the emotional building blocks, so that you can experience all the other emotions in a very specific way, rather than just experiencing it in an intellectual way.” ThinkingMenWayNeedsFeelsImportantCharacterStoriesWantedViewsEmotionAudienceHavensBuildingEmotionalIntellectualPoint Of ViewBlockCrucialSpidersSpider ManBuilding BlocksRedefining Author:Marc Webb
“I wanted to make a film that wasn't just a biography. When you watched it, you actually felt that you watched a movie, that you had an emotional reaction. In order to do that, I felt that I had to really keep myself emotionally raw while working on the film. I had to feel myself crying, so the audience could be moved, too.” FeelsWantedFilmOrderFeltAudienceCryEmotionalMovedReactionsBiographiesEmotional Reactions Author:Tamra Davis
“Writing, for me, is a combination of objective and subjective approach. You take an objective approach at times to get you through things, and you take a subjective approach at other times, and that allows you to find an emotional experience for the audience.” WritingAudienceEmotionalApproachObjectivesCombinationSubjective Author:Christopher Nolan
“If I'm able to catch the screening, there's a point in the film where, like clockwork, a portion of the audience gets really emotional and begins to cry. And that's very difficult to make happen.” IfsHappensAbleFilmDifficultAudienceCryEmotionalPortionsGet RealScreeningClockwork Author:Michael Pitt
“Of all people, children are the ones that really understand when there's a truth there for them - an emotional truth. The characters really have to work. Children, as an audience, are very inspirational for me.” PeopleChildrenCharacterAudienceEmotionalVery Inspirational Author:Jan Brett
“My work is very dear to me, and certainly I have had all the emotional highs and lows that go with trying to get it to an audience. But I do have some kind of detachment that seems somewhat unusual in my trade. I'm a writer who writes every day. I don't have a period of months where I can't get anything done and I wander around tearing my hair out. When I come back from a book tour, for instance, I might have one day where I sleep late and then check my e-mail, and then go for a walk, and then the next day I'm really itching to get back at writing a story.” WritingTryingKindI CanBookDoneStoriesSeemsMightNextSleepWalksAudienceEmotionalHairMonthsPeriodsOne DayLateLowsTradeDearChecksInstanceWanderGet BackUnusualMailNext DayDetachmentHighs And LowsItchingSleep Late Author:Daniel Handler
“Audiences will see what they want to see. Some will come out, hopefully enjoying two hours of action. Some people will find themselves gravitating towards the emotional dilemma that the characters find themselves in. Other people will see that there is some layer of subversions to the storytelling aspect of poking a finger of judgment at certain governments to the idea of foreign invasion, others maybe false pretenses.” PeopleWantTwoIdeasCharacterGovernmentActionCertainEnjoyHoursAudienceEmotionalJudgmentAspectFingersStorytellingHopefullyLayersInvasionDilemmaPretenseSubversion Author:Colin Farrell
“There's something really emotional about not having any sound. That allows, I think, the audience to participate more actively and kind of imagine what are they talking about there?” ThinkingKindSoundTalkingAudienceImagineEmotional Author:Pete Docter
“I knew it was going to be important that if I had an audience understand who she was, then all those things had to come from a place that was grounded, as opposed to being tics and manners and twitches. I didn't think it was going to be as rich, perhaps, as if I was going to make it more emotional.” IfsThinkingImportantAudienceRichEmotionalMannersGroundedTics Author:Kate Winslet
“But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.” IfsDoeImportantRealStatesWould BeRunningOrderFallFoundEnergySoundVoiceAudienceAliveEmotionalSceneBreathsFlatsUsualAnimatedSids Author:John Leguizamo
“As an actor, you want people to see you as a whole person, not just a single facet of your emotional spectrum. And whether it's the audience or the industry, you end up getting pigeonholed as one thing. So for people to see I can be funny and stay in shape is a bit of a weight off my shoulders.” PeopleWantPersonsI CanEndsWholeActorsBitsAudienceOne ThingEmotionalIndustryShapesWeightShouldersSpectrumFacetsWhole Person Author:Scott Porter
“At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.” ShouldHeartEndsStoriesAbleFilmPowerfulAttentionAudienceSuccessfulMiddleEmotionalIntellectualNarrativeDramaticCaptureViewersArcsProtagonistsBeginning Middle And End Author:Julia Bacha
“I've been wanting for some time to find a way of stylizing cinema and trying to get closer to the emotional story I was telling and get rid of all the bumph that goes with it and allow the audience a more participatory experience. It was an attempt to do all of those things and to express the idea that all these people were just performing roles in their lives.” PeopleWayTryingIdeasStoriesRolesAudienceEmotionalCinemaPerforming Author:Joe Wright
“The one thing you can do that the audience can't do - all those smart people online in the chat rooms can't do - is deliver a satisfying emotional journey for a human being, for a character.” PeopleHumansCharacterCan DoHuman BeingsRoomsAudienceOne ThingJourneyEmotionalSmartOnlineSatisfyingSmart People Author:Frank Spotnitz