That's really what keeps me playing live - appreciation. And I guess I've made a lot of wiggle room for myself to try different things and discover what I'm doing, and the audience accepts it.
I think that for me, as far as audience expectations and how you manage your anxiety, it helps to keep things in perspective.
When we first sat down and talked about how much of the show we were going to do based on the movie, there are certainly things you can see right away, but we wanted to make sure that the audience who maybe never saw the movie or has maybe never seen any of the Marvel characters before - and I know there's three of them left on the planet - could have someone that could be their eyes and take them in.
We want to be able to let the audience get to know these folks. One of the things about The Avengers, over the last 50 years, is the fun of changing up the gang and bringing in new characters.
It felt really nice to not have anybody talking about numbers, and no one is talking about ratings. From my experience, it felt like there was one person running the ship and it felt like there was space for Jenji to be at the helm. That's not what I've experienced in television before. It felt more akin to an interesting movie, where there were producers who were really excited by the work and wanted to make space for the director's vision to be sort of shared with an audience. It felt more cohesive.
I remember going onstage on Broadway in this Leigh Bowery thing for a track like "Ich Bin Kunst." I've got breasts, this latex dripping down on my head, and I come out in a box. I just remember the audience looking really horrified because Rosie [O'Donnell] was trying to sell the show as sort of Pippin and Annie. She was saying it's a family show.
To me it's not so much that the movies are slow-paced as much as they are about spending time building a relationship between the audience and the characters. If you don't spend an adequate amount of time doing this, then how can you expect to scare anyone?
It's very important to me to find ways to relate the audience to the characters. This is the first thing to go in most mainstream horror films.
I like movies that leave things in the hands of the audience.
I will never lose anything that an audience will miss.I turned things that were scripted as effects into in-camera stuff, which is sexier.
The problem with trying to make a film good and have it work for an audience is the problem of trying to tell a story well. The shape or the color of it doesn't matter.
In movies, you can basically buy the audience into the theater. If you spend enough money on visual effects, even if you are lacking in story and character, you might still pull it off.
You work hard and you pray, and you do something where you know the energy around the project is right, but you never really know if it's going to hit and resonate with audiences.
I'm used to something where you have to create an entire world, and I do like that process. I like getting the audience to believe that outside of the frame of your television set, there's a whole real world that exists, that is different from your day-to-day reality.
You have to realize that people who bother to log on to anything and talk about a television show is a very specific fraction of the audience. It's not the general audience, so you can't get too crazy listening to just that. That's not representative, but they are the most dedicated.
When you're singing, it can be looked at as a monologue, in a way. If it's about telling a story and connecting with your audience, you can do that through song, through dialogue, or through a monologue. That's what's special about being an entertainer.
I really appreciate and respect the audience. People pay their hard-earned money to go watch you, so I feel like it's my job to give 100,000% of myself to what I'm doing.
I feel like movies should stick to a genre and give the audience what they want, and then surprise them with the unexpected, and not just do the same thing you've always seen.
We were in production on a movie called All the Real Girls, which filmed in the Fall of 2001, and we really discovered who Danny McBride was, as an actor. When I say we, I mean me and a crew and a small audience that would hit the art house. He'd never acted before, and it was a really refreshing, eye-opening experience to watch him unleash, in front of the camera, all this comedic potential that we knew he had, as a human being and as the guy doing keg-stands at the party.
The difference between this film [Your highness] and Pineapple Express was pretty much in the logistics of the technical ambition of the movie, and the size and scope of the movie. Pineapple Express was a great success, and that was something that we wanted to capitalize on, but we wanted this movie to be bigger, more adventuresome, bring a bigger audience to the movie, and challenge ourselves to do something new.
It was really important to try to reach a whole new audience so we had a lot of people in who not only had not seen the last film but were not Star Trek fans, or thought of themselves as not being Star Trek fans, or they had seen bits and pieces of Star Trek in the past and it was just not for them.
The movies I make and my interests are always about pushing the technology as far as we can in support of telling great stories and showing an audience things they haven't seen before.
When you watch an audience watching my movies, you realize that nobody laughs at the same time. Some people enjoy a beat, and then another group of people are laughing at a sight gag, and then someone laughs where nobody laughs before. They're not timed like a comedy. You're not supposed to laugh at every joke. You decide.
Every time an actress is celebrated for her great work, I cheer. For the more brilliant their performance, the more the audience demands stories about women... And as we all know: a great year for women in film, is just a great year for film.
I enjoy playing the audience like a piano.
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