A Quote by Catherine Tresa
When I hear a story, I think about it from the point of view of the audience.
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My point of view, and more importantly, the president's point of view, is that the story is not about me or a debate with news outlets. The story is about the plans of the administration and what we're trying to project to the American people.
I always want to be a member in the audience, and I want to hear it from their point of view and see it from their point of view so I can know if it's good. But that's just my issues, not a real problem.
First and foremost I have to look at the film from an audience point of view. Yes, one has to see the story from an actor's point of view as well so that you can showcase performance as well. However before that, I need to ensure hits.
I don't want you to think that I'm being willfully obtuse, but I've never really grasped how point of view could be regarded as a matter of choice independent of story. Point of view is intimately interwoven into the story that you want to tell - it is an aspect of it.
I prefer the word 'journeyman' to 'journalist' because I think that certainly, when you hear a story, you want to hear certain facts. But I also think what makes a story interesting is the points of view expressed therein.
My job as an actor is to just tell the story as best I can from my character's point of view and let the audience decide.
Well I think I'm of the view that Fox has a monopoly position... I think Fox has tremendous power from that point of view, but there's also the sense of fearing their audience.
[T]he more clamour we make about 'the women's point of view', the more we rub it into people that the women's point of view is different, and frankly I do not think it is -- at least in my job. The line I always want to take is, that there is the 'point of view' of the reasonably enlightened human brain, and that this is the aspect of the matter which I am best fitted to uphold.
There is no essential difference between the material of comedy and tragedy. All depends on the point of view of the dramatist, which, by clever emphasis, he tries to make the point of view of his audience.
If you want the film [La La Land ] to represent all things jazz, it does not. You'll be disappointed by that. But, if you just see it as one guy's point of view, one filmmaker's point of view, and one story among many stories that can be told about jazz, then it's not as much of an issue.
Point of view is not something I consciously decide. Almost always, when I come up with a plot I find that the point of view has automatically arrived with it, part and parcel of the story.
Everybody you work with sees what you're doing from a different point of view, a very specific point of view. So, if someone is lighting, they're seeing it from that point of view. A production designer is seeing it from the placement of furniture that tells you about the character. Everything that goes into the room should tell you about the person who lives in that room.
There are lots of podcasts that look at films from the audience's point of view. There are also plenty that look at it from the combatants' point of view. It's invariably the case that the less likely you are to have heard of the people talking, the more interesting they'll be.
I am highly variable in my devotion. From a doctrinal point of view or a dogmatic point of view or a strictly Catholic adherent point of view, I'm first to say that I talk a good game, but I don't know how good I am about it in practice.
I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.
I make it a habit of never trying to judge what an audience might think, only because all points of view are too close, because we're doing it every day, I think that the actor's point of view is sometimes too close to what the material actually is.
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