A Quote by Christopher Guest
I don't think we've ever known what the hell's going on when we do Tap shows. It's possible the audience are effectively getting to see more of the movie when we play. You know, they know the songs, so anything we do onstage, whether we're meaning to or not, is an extension of the film. Other than that, I wouldn't understand what's going on.
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It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.
When I go to see people, I always kind of hope they are going to play some kind of songs I know. So you've got to know your audience. It's kind of something that is a blessing and a curse in a way. You're obligated to play some of that stuff that people know, but I don't think that's all you have to do.
I think [Hollywood] has achieved everything they’ve always dreamed of. The audience now seems to be very dumb. They pay money to watch the same film. Now, you could argue, that's because it makes them feel comfortable. When they go to a movie now, it's almost like hearing a pop song. You know the rhythms, you know when the downbeat is going to come, you know when the explosion is going to come… And so as life becomes more complex, as the economy is in trouble, people cling to what makes them comfortable, so they go again and again to see the same movie.
We're going to serve in eternity. We're not going to sit around on clouds; you know this whole idea of heaven is wearing white robes with angels and play a harp. To me, that would be hell. I can't think of anything more boring.
You know that certain things that you use in the film are going to be shown to audiences five hundred times before they ever sit down to watch the movie. So you have to kind of modulate what can I do to give marketing enough material but that I can still withhold certain things so that it's fresh and surprising for the audience coming to see the movie.
No one is bigger than the team. You're going to be on time, you're going play hard, you're going to know your job and you're going to know when to pass and shoot. If you can't do those four things you're not getting time here and we don't care who you are.
There are so many famous people now that are not really gifted or talented at doing anything other than getting made up, putting on tight dresses, acting badly, getting married. I mean, what the hell? I don't know where we are going with this here in America. And we are setting a tone for the world, because everyone looks at what we do.
If there is a blues song, it just goes in one ear and out the other. But other than that, if it stays with you and when we are all 90, we're going to look back at those songs, and it's going to be emotional. And when someone plays it, and you know it, and you're going to go, "I know that song and I love it."
When I am onstage, singing all these songs... what's going through my mind is nothing. That's what's so amazing about meditation - achieving that state, getting to a place where you're clear and present. I'm not thinking about anything except connecting with an audience.
I think the biggest challenge was being aware of a certain audience that was going to see this film [lone survivor]. There's a big difference from a typical movie, journalists and critics and film goers that go see it find that, that's the general experience you have as a filmmaker. So that just kind of proves my point that there's a really different audience.
I think more obvious to others, is that I'm most vulnerable on stage. Even though I know which songs I'm going to play, I try and keep it loose and base my stage time more on what the audience is requesting of me.
I had fears going into television that it might become boring to me, and I always like to be challenged, push myself. You do a film, and you know where you're going; you have this material to stretch and play with as much as possible because you know how it ends.
How little we know of what there is to know. I wish that I were going to live a long time instead of going to die today because I have learned much about life in these four days; more, I think than in all other time. I'd like to be an old man to really know. I wonder if you keep on learning or if there is only a certain amount each man can understand. I thought I knew so many things that I know nothing of. I wish there was more time.
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
I think the audience is getting it right, you know what I mean? And that's kind of rare when the artist feels like their audience understand them. But I feel like people are understanding exactly what I'm going for. And that's awesome.
My most enjoyable movie going experiences have always been going to a movie theater, sitting there and the lights go down and a film comes on the screen that you don't know everything about, and you don't know every plot turn and every character movement that's going to happen.
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