There was a stage inside it and a crank on the outside that would rotate something, like a tiny tree carved of cork, onto the stage, and then the thousands of little mirrors would multiply that one tree so that the viewer would see an infinite forest instead.
I think it's important for the viewers at home to have something accessible and attainable.
You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.
A photograph is a mirror; mostly it reflects the prejudices of the viewer.
People who look at art don't really - don't go with the artist. They don't sort of accept what he or she has done and kind of go with it. There are always - either there's too much color or not enough color, either it's not conceptual enough or it's too conceptual. In other words, most criticism isn't what the viewer expected that it would do based on what they think you have done and that's good as far as I'm concerned.
When a scene is shrouded in mist, it seems greater, nobler, and heightens the viewers' imaginative powers, increasing expectation - like a veiled girl. Generally the eye and the imagination are more readily drawn by nebulous distance than by what is perfectly plain for all to see
I write for fanboy moments. I write to give myself strength. I write to be the characters that I am not. I write to explore all the things I'm afraid of. I write to do all the things the viewers want too. So the intensity of the fan response is enormously gratifying. It means I hit a nerve.
My camera, my intentions stopped no man from falling. Nor did they aid him after he had fallen. It could be said that photographs be damned for they bind no wounds. Yet, I reasoned, if my photographs could cause compassionate horror within the viewer, they might also prod the conscience of that viewer into taking action.
But Angela had at least 30% more viewers on the same night at the same time. I mean, she wiped everybody out. But the sponsors don't care when she had the most people. They only care about if there was only a handful of young viewers on the other one.
The copy of an ad is merely a punning gag to distract the critical faculties while the image of the product goes to work on the hypnotized viewer. Those who have spent their lives protesting about 'false and misleading ad copy' are godsends to advertisers, as teetotalers are to brewers, and moral censors are to books and films. The protesters are the best acclaimers and accelerators. Since the advent of pictures, the job of the ad copy is as incidental and latent as the 'meaning' of a poem is to a poem, or the words of a song are to a song.
I think by laying it out for the viewer I'm avoiding the issue of bias.
I am guided by the vision of what I believe this show can be. Originally our goal was to uplift, enlighten, encourage and entertain through the medium of television. Now, our mission statement for The Oprah Winfrey Show is to use television to transform people's lives, to make viewers see themselves differently and to bring happiness and a sense of fulfillment into every home.
If to the viewer's eyes, my world appears less beautiful than his, I'm to be pitied and the viewer praised.
Personally I like the slow burn; I don't think there is anything wrong with it. When I think about the movies that were most effective on me as a viewer I think of the original Haunting and the Exorcist, Rosemary's Baby, the Sixth Sense, the Others. These movies are not over the top at all, they are movies that rely on good story telling, good acting, good premise, good exposition and I want to stay true to that in future projects.
I don’t think television will ever be perfected until the viewer can press a button and cause whoever is on the screen’s head to explode.
My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.
Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me. I use direct sound, mono not stereo. Just direct sound, so for every shot there are only two sources. Sound creates an intimate effect: the sensation to feel the place. It makes the viewer enter. You have the liberty to hear what you want.
You can't fool television viewers with dancing girls and flashing lights
The hidden child wants to be able to participate and to co-create in art, rather than being simply an admiring viewer.
Hitchcock's murder set-pieces are so potent, they can galvanize (and frighten) even a viewer who's seen them before!
It's an entire industry focusing on young male viewers that want action and violence. They sell us something that isn't valid. They're selling films like a product.
Television viewers, they've been around a long time. They've been watching this thing now for 50 years. I mean, they know exactly what's happening when it comes to television programming. You can't put anything over on them anymore.
One doesn't make art for other people, even though I am very concerned with the viewer
I'm not presumptuous enough to feel that people are going to feel what I have in mind, so I tell a story, you know, let them read something, that doesn't change, that as I have said it, you know, so that's the way I feel about the viewer, the viewer has a mind of their own and eyes of their own and they're going to see it their way, I just hope they look.
If Im feeling outraged, grief, disbelief, frustration, sympathy, that gets channeled through me and into my pictures and hopefully transmitted to the viewer.
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