A Quote by David Nutter

What's most important is to create an atmosphere that's real, providing characters the audience can root for. Once they become emotionally attached, that's the secret in building a show. The audience can see themselves in these characters, and they respond to the stories.
If I can get the audience to connect with the characters emotionally - and they love who they are, they love the larger-than-life situation that they're in, but most of all get the audience invested in the characters - then I always feel like I can sort of put them in the most outrageous circumstances, and the audience is okay to go with that.
Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see
Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see.
I have always liked kind of outsider characters. In the movies I grew up liking, you had more complicated characters. I don't mean that in a way that makes us better or anything. I just seem to like characters who don't really fit into. You always hear that from the studio: "You have to be able to root for them, they have to be likeable, and the audience has to be able to see themselves in the characters." I feel that's not necessarily true. As long as the character has some type of goal or outlook on the world, or perspective, you can follow that story.
I'm grateful that so many viewers have related to characters I've played. I think many in the audience see themselves in my characters or feel like the characters are similar to their friends or sisters.
As a filmmaker, the most dramatic and the most dread-inspiring thing is when the audience can see more than the characters themselves can see.
I wanted to keep the same general attitude we created for the show in that there are some similarities to 'The X-Files,' so some of the realistic atmosphere that we created on 'The X-Files' is the same that we've created for 'Millennium.' It's an atmosphere that helps the audience invest themselves in the characters and believe what they're doing.
You need the audience to become invested in the characters and in order to become invested, they need to identify with the characters... and that's why the characters need to be real.
My purpose is to create a mirror for the reader to see themselves, to create a light for people to see themselves in the characters, pictures, and stories. So they resonate.
The 2nd secret to success is to be emotionally 'engaged' with your goals, but not emotionally attached. What's the difference? When you are emotionally engaged you create excitement & enthusiasm for the possibility of achieving your goals, but when you are emotionally attached you create fear & pain that you might not.
When you create those characters that people love and care about and put them in a dark hallway, already the audience is on edge, and they feel empathy for that character. Then it's up to me to decide what jumps out in that hallway. So I think laying that foundation of strong characters and strong story is the most important thing in a horror film.
Also expressionistic filmmaking - making the audience feel like they were inside the characters' heads. And so we create all these different types of techniques to put the audience there.
I don't understand that, because I think that what people like most about the show is that they recognize themselves in the characters and their problems, so the more believable the family is, the more we can draw the audience in.
I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy.
You have to think about storytelling over the long haul: what is going to engage an audience for, potentially, years and how characters can become deeply involving for an audience.
Somewhere, the audience relates to my characters and their vulnerability. I believe they see themselves in me.
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