A Quote by Brett Ratner
I learn more from the audience than I can from anybody else. Not from what they write on the scorecards, but how they respond to the movie while they're watching it - where they laugh and where they react.
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You're watching the movie for the first time when you're working with the actors in front of the camera. You don't think about how the audience will react. You discover the film.
We're not just writers; we're readers probably more than anything else. That's how you learn how to write and how you learn to appreciate good writing: by reading.
You have to make more noise than anybody else, you have to make yourself more obtrusive than anybody else, you have to fill all the papers more than anybody else, in fact you have to be there all the time and see that they do not snow you under.
Do not learn how to react. Learn how to respond.
If you can't laugh at yourself, then how can you laugh at anybody else? I think people see the human side of you when you do that.
We've endured too many tragedies. And each time I learn the news I react not as a President, but as anybody else would - as a parent.
I've never written for anybody else. For me, it was a challenge. I write for me. I don't write for anybody else. And what was good about it was that I was writing for somebody I knew. I knew what my mother thinks and how she feels. So it was finding that creative spirit to write about my mother.
I learned my business in the theater and in television, particularly working with the actors. You can learn much more in the theater than directing a movie, because then you have no time when you are shooting a movie to really work with the actors. You have to learn this craft somewhere else.
If money titles meant anything, I'd play more tournaments. The only thing that means a lot to me is winning. If I have more wins than anybody else and win more majors than anybody else in the same year, then it's been a good year.
You turn the computer into the storyteller and the player into the audience, like in the old days when the storyteller would actually respond to the audience, rather than just having the audience respond to the storyteller. I had an enormous amount of fun, actually, working on that.
You're your first best audience, long before anybody else hears you. So don't be an easy audience. Keep asking for more.
When you're writing for the screen, you have to be hyper-conscious every moment of how the audience is going to react. If you write just one scene where the audience is confused or it breaks their concentration in some way, then you've lost them, and you might never get them back.
You learn from music, from watching great athletes at work - how disciplined they are, how they move. You learn these things by watching a shortstop at work, how he concentrates on one thing at a time. You learn from classic music, from the blues and jazz, from bluegrass. From all this, you learn how to sustain a great line without bringing in unnecessary words.
I got my first kiss while watching 'Titanic', oddly enough, so I think I was more focused on that than the actual movie.
I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.
I think number one is what my mom and dad preached to me when I was a little kid: Just because you may have athletic ability and you may be able to play a sport doesn't make you any more special than anybody else. Doesn't mean God loves you more than anybody else.
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