Quotes 61 till 80 of 196.
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I open with a clock striking, to beget an awful attention in the audience - it also marks the time, which is four o clock in the morning, and saves a description of the rising sun, and a great deal about gilding the eastern hemisphere.
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I played in front of every conceivable audience you could face: an all-black audience, all-white, firemen's fairs, policemen's balls, in front of supermarkets, bar mitzvahs, weddings, drive-in theaters. I'd seen it all before I ever walked into a recording studio.
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I still get very scared when I step in front of a live audience.
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I think that the cinema is a physical thing. What I'm looking for is creating a physical shock with the audience. I don't care of the meaning. I don't care of the idea. I don't want to say something. I want to make a 'shock physique.'
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I think there are two ways to depict a family. One is what it's really like, and one is what the audience would like it to be. Between you and me, I think the second one is what I would prefer
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I think ultimately if you have a very high expectation of your audience and you know exactly what it is you're trying to express through the medium of film, there will always be an audience for you.
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I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.
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I was always concerned with writing to my age at a particular moment. That was the way I would keep faith with the audience that supported me as I went along.
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I would like to get rid of the homophobes, sexists, and racists in our audience. I know they're out there and it really bothers me.
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I'd love to go back and do theater. There's nothing like that instant response and the connection to a live audience.
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I'm always prepared for the worst. I was prepared to have the book come out, sell seven copies, and have to keep working in advertising, so it was just great that it was received so well and by such a huge audience.
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I'm always shy in front of an audience, so I'm always at the back, in the shadows, just doing it. I don't like the front, the adulation.
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I'm not as successful as Pixar or Dreamworks, and that is disappointing to me, because I think my films are as valid as a Pixar film. I think there's an audience for my films. I know there's a market for someone like Quentin Tarantino, who basically does adult cartoons in live action.
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I've always wanted to be a real universal artist, one that every type of audience could relate to.
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I've discovered that Motown and Broadway have a lot in common - a family of wonderfully talented, passionate, hardworking young people, fiercely competitive but also full of love and appreciation for the work, for each other and for the people in the audience.
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If I could get the respect of 14-year-olds, I'm happy. They're the toughest audience.
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If I were to leave Congress and want to start Farenthold TV, it would be very difficult. The fewer players there are, the fewer the opportunities to build a big enough audience to get on.
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If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.
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If something is successful with the audience, it's automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!
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If there are twelve clowns in a ring, you can jump in the middle and start reciting Shakespeare, but to the audience, you'll just be the thirteenth clown.
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