I don't go into it trying to be this or that because that completely taints and corrupts the work that you're trying to do. But, I'm thankful and that definitely was a surprise. Hopefully, I'll keep doing stuff that remains interesting and fun for the audience.
I basically love classical music. I love a lot of musicians playing together and the whole culture of that whether it's Indian or it's Western. But in India, I think it's limited to filler music unfortunately. That's one thing I want to push in India where we have the infrastructure of an orchestra where you play Indian melodies with an orchestra and something different for a universal audience. It requires a lot of work from me.
I want to tell beautiful stories. I know I want to tell stories that appeal to a large audience. I want to make movies that appeal to mass culture.
My mother, I want her to like my music, but she's not exactly my target audience. So I care more about the fans in general, just making sure they enjoy what I do.
I think American audiences like gangster movies. It's part of the culture.
I try to think about me, as an audience member, and it [inspiration for movies] comes from there.
It's definitely got a lot more grit to it. And, we don't pretend to be the smartest people there. We're not like, "This is how we did it, and now we're just going to show you how we go catch them. The audience gets to figure it out with us.
I mean we certainly always shoot a lot of extra material, but our goal was to make kind of like a big kind of rock-and-roll road trip comedy that has heart and that has hopefully you feel bad for Russell and you feel bad for Aldeus and also I wanted to surprise people with some of the turns in the movie and I think when I watched it with audiences they certainly...the reactions made me think that we did and so all that I'm just very excited about it.
People test movies within an inch of their life, so that the entire audience experience is a uniform one.
The great thing about sci-fi is that the fans and the audience are unlike any other genre out there. They are constantly looking for great content and good stuff. They don't care where it comes from, they'll latch onto it.
There is a danger, if you cast someone who is 18, 19 or 20 to play 14 or 15, that very subtly, almost unconsciously, the audience is, "Oh, this isn't so bad."
I had invited 50 or 60 peers and friends, most of whom were parents, to see the film [Trust], and I asked about the last scene. It was interesting because it was split right down the middle, 50/50. About half the audience wanted it to end with the very emotional scene between Clive and Liana, and that feeling of realization and catharsis. And, the other half were adamant about keeping that last scene.
Acting is acting, as far as I'm concerned and, you know, how you manifest it is, at the end of the day, not the point. It's how it affects the story & how it affects the audience. And if people are hungry to be told stories, using, using this form then there's a reason for that.
I felt there was a certain amount of violence in the graphic and that it could still be cheated on screen so you could still have a hard PG-13 and open up your audience. Anybody can read the graphic novel. If you're 14, you can go out and buy it, and I felt that if you're 14 you should be able to see this movie [The Loosers].
I find broadcast intensely stressful, to the extent that perversely, I've never seen anything I've written actually broadcast on television. So, the audience response is something which I became aware of gradually.
And by the right thing, I mean that whatever step we take next, the first criteria we should consider is the people who have been loyal to us, thus far, which is primarily our audience.
I don't feel any obligation to make my intentions for a song accessible to a listener or an audience. I'm not interested in conveying anything to them so much as what's best for me.
I try to make myself, and subsequently the audience, as uncomfortable as possible, whether it's completely desecrating a song they thought was one thing, or getting too drunk to really do a very good job.
Being in front of the audience, letting my audience see me in person - it is real intimate, you get to make them laugh and cry, they get to feel you. And then afterward, we go out and do a meet-and-greet session with the fans. It was just a wonderful experience. I really, really enjoyed it.
I hope that audiences respond really positively. I think it's a very intense, entertaining film [The Last King of Scotland], because you're brought in on a fun ride, and slowly you fall into it as James [actor James McAvoy's character, Dr. Nicholas Garrigan] does. Nicholas is like the audience. I think it's a good ride for people. And you learn something, as well.
On the whole, it bums me out that lyrics seem to be written as afterthoughts nowadays. Not sure why this is, but hopefully things will come around again and bands will once again want to "communicate" "ideas" with their audience, and not just content themselves with providing attitude and atmosphere with clichés on top.
A period romance film with elements of horror. That was successful, because I feel like Coppola's DRACULA was one or the other. You know? It was never scary it was never a film he got invested in the romance of the characters. He understood it, but he never got invested. So it as a challenge for me to see if I could do that, I still don't know how audiences will sort of react to that.
Here's a tip for all you aspiring young comics: Don't beat up the customers. It is very difficult to get laughs from an audience when you've actually drawn blood from one of their number. It kills the mood.
If I had to fall in love with all the actresses I play with and live the situations I have to play, I would be lost ! I need to be solid and know who I really am to have fun in making something else. I noticed, while talking with other actors, that they often let ambiguity float. I don't like ambiguity, it's dangerous. I need distance. I also think that the result would prevent the audience from identifying to the characters. If you feel the things too strongly, you simply close the doors.
In addition to listening to the audience's laugh, you want to listen to their silence. Is it bored or interested silence? The silence is quieter and filled with energy when they're interested. You can hear a pin drop. When they're bored, you can always hear it.
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