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Audience Quotes

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Audience Quotes

“You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.”

“The literature now is so opaque to the average person that you couldn't take a science-fiction short story that's published now and turn it into a movie. There'd be way too much ground work you'd have to lay. It's OK to have detail and density, but if you rely on being a lifelong science-fiction fan to understand what the story is about, then it's not going to translate to a broader audience.”

“You always know when one of the first ["Harry Potter" movies] are on TV, because you'll get a text message from one of your friends saying, "How high was your voice?" It's like watching a home movie, in some sense. But you just remember because the audience sees the scenes as they're written, but we remember shooting [the scenes] and all the stories that came around it. Like the Quidditch World Cup in ["Harry Potter and the] Goblet of Fire," it's like the Glastonbury Festival at Leavesden [Studios].”

“The experience of going to a theater and seeing a movie with a lot of people is still part of the transformational power of the film, and it's equivalent to the old shaman telling a story by the campfire to a bunch of people. That is a remarkable thing, if you scream and everyone else in the audience screams, you realize that your fears are not just within yourself, they're in other people as well, and that's strangely releasing.”

“Kids, if anything, are harder to write for because they are a more discerning audience. They will not stay with you if you go off on a tangent or if you give them extraneous information that doesn't serve the story. You really have to tell a tight story. You have to give them humor and suspense and believable characters. All those things that adults want too, but you have to be really on your game when you're writing for kids.”

“If an audience finds themselves paying attention to how you made your film, you're sunk because that means they're unplugged from your story. What matters is what's unfolding on the screen, not how you put it there. It doesn't matter if it's red triangles or million dollar software if the audience doesn't care.”

“I hope any poem I've ever written could stand on its own and not need to be a part of biography, critical theory or cultural studies. I don't want to give a poetry reading and have to provide the story behind the poem in order for it to make sense to an audience. I certainly don't want the poem to require a critical intermediary - a "spokescritic." I want my poems to be independently meaningful moments of power for a good reader. And that's the expectation I initially bring to other poets' writing.”

“I want to use film to tell stories that need to be told to spark discussions that will lead to change. I really want to see a change in the mindset of youth, how they see themselves and how they value life. Young audiences will be able to see themselves in this film and older audiences will gain an understanding of what their kids are dealing with on a daily basis. Kids discuss what they see on TV, social media, film so I want to create content that they will discuss and will change the way they think.”

“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.”

“The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.”

“I've always loved animation it's the reason why I do what I do for a living - the films of Walt Disney. This art form is so spectacular and beautiful. And I never quite understood the feeling amongst animation studios that audiences today only wanted to see computer animation. It's never about the medium that a film is made in, it's about the story. It's about how good the movie is.”

“It [moviemaking] is about entertaining audiences with great characters and great stories, you want to make people laugh, you want to make people cry, you want to have great music that is memorable. You want a movie that, as soon as it's over, you want to watch it again, just like that. That's what it is, whether it's live-action, animation, hand drawn, computer, special effects, puppet animation, it doesn't matter. That's the goal of a filmmaker.”

“I test the movies a lot, and if the audience says they love the movie, we know we're on the right track. And if they tell me they hate it, I try to figure out what I've done wrong. But every time out, the audience wants me to go deeper, they want to know more about the characters, and they don't want these movies to be shallow. So they really urge me to tell them a complicated story, and then when I do so, they're thrilled”

“If the audience gets everything, if they see the photography and notice that it is good, then the story goes out the window, but if you become involved with the lives of the actors and forget that you are seeing mechanical devices on a huge screen - forget the make-believe - this is the job of the director to involve the audience with the actors.”

“We see films all the time, whether they have access to all kinds of intellectual property or artifacts, and the one thing that they don't get is story. So I think whether you're talking about a biopic or an action film or a science-fiction film that has all the CGI in the world, if you're not trying to connect with an audience, it doesn't really matter.”

“It's all about respect; he's looking for respect from his buddies. In the last one he just wanted to hang out, to be part of the group, but this time he wants more from his friends. And without giving the story away, he finally gets something that he has been looking for when the mini sloths kidnap him and take him to their tribal area. He gets to be the Fire King and they worship him and there is an amazing scene with a "call and response" sequence in the style of Cab Callow [the legendary American jazz singer and band leader] between him and his audience.”

“I would hope with all my heart that people understand this and see it in the film. And there are also other messages in Happy Feet, like racial and environmental ones, but none of them are so overt. George has made a great story about penguins with a lot of humanity in it and audiences can follow a species we don't know that well.”

“Try not to pay attention to those who will try to make life miserable for you. There will be a lot of those-in the official capacity as well as the self-appointed. Suffer them if you can't escape them, but once you have steered clear of them, give them the shortest shrift possible. Above all, try to avoid telling stories about the unjust treatment you received at their hands; avoid it no matter how receptive your audience may be. Tales of this sort extend the existence of your antagonists.”

“I try to make films where the audience forgets the filmmaking and gets engrossed in the story as it unfolds. I don't want them to ever feel bored, or that they're being told what to think, or to feel depressed. I don't like films about victims - I want to celebrate brave survivors like Brenda and the wonderful women in the film.”

“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.”

“I think that even though The German Doctor (Wakolda) is placed in a historical context , it is a very intimate story. The film has been extremely well received around the world. It keeps on going around, opening in different markets, and connecting with the audience. In Argentina it was seen by over 450, 000 spectators, which is way more than anything we could have imagined.”

“During part of 1941 and 1942, when the Luftwaffe was busy in Russia, the German radio regaled its home audience with stories of devastating air raids on London. Now, we are aware that those raids did not happen. But what use would our knowledge be if the Germans conquered Britain? For the purpose of a future historian, did those raids happen, or didn't they? The answer is: If Hitler survives, they happened, and if he falls they didn't happen.”