A Quote by D. H. Lawrence
I hate the actor and audience business. An author should be in among the crowd, kicking their shins or cheering them on to some mischief or merriment.
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When I started The Shins, it really was just me, alone, but it was still The Shins. I was totally recording stuff and writing songs as The Shins and all of that. So the beginning inception of the whole thing was some sort of a lie, I guess.
When the response to comedy becomes cheering instead of laughing, that is so irritating. It's the worst. Here's what cheering is: "Look at me!" That's what cheering is. Cheering is not "Hey, I agree with what you're saying"; cheering is "I'm liking this more than anybody else!"
It's really hard to perfect one aspect of your kicking game when you're spending some of your time kicking with a holder, some of your time kicking off a tee, and some of your time drop-kicking the ball. To be able to concentrate just on my punting responsibilities will do wonders for me.
Fiction should be about moral dilemmas that are so bloody difficult that the author doesn't know the answer. What I hate in fiction is when the author knows better than the characters what they should do.
Stephen Blackpool fall into the loneliest of lives, the life of solitude among a familiar crowd. The stranger in the land who looks into ten thousand faces for some answering look and never finds it, is in cheering society as compared with him who passes ten averted faces daily, that were once the countenances of friends
I never wanted there to be any moment in my movies when something would happen and the audience would cheer, like sometimes that happens in certain types of horror movies. I was never a fan of that, I wasn't looking for 'inventive' kills and I even hate that word because it's like, if you have these characters screaming or crying in pain I don't think anyone should be jumping out of their seat cheering. It should be horrible and you should feel sick watching it because that's what it is, sick.
I'm neurotic in the sense that I can have a crowd of 300 people cheering you, applauding you, standing O, but one guy come out of the audience and go, "Hey man, you should have cut 20 minutes. That wasn't so good." And I'll just obsess on that one guy. After all this love, I'll obsess on him and want to smash his face in and strangle him and kick him down the stairs and I'll be pouting about that one guy all night.
As long as the crowd make noise, I will be in my element, whether it is booing or cheering. The main thing is I get a reaction of some kind.
I didn't go into this business to do action because I'm a classically trained actor. But I'm good at kicking and punching.
I like getting up in front of an audience. It's fun when you go to a baseball game and the crowd is cheering you. I can't deny it. And it's very funny, too. Sometimes you're shy; you go somewhere and everyone's looking at you, so you feel a little self-conscious.
As an actor, especially one who's worked in casting, you read so many scripts, and some of them are terrible. They're terrible and they're getting made, and some of them are good but the female role is just painful or underwritten. So after years of that, I had this idea kicking around in my head for two years, and I thought, I'm just going to start writing.
The inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated on the stage and shown to the audience. This life is rich and revealing for the audience as well as for the actor himself.
The phrase booze and mischief left me worrying I'd stumbled into what my mother referred to as "the wrong crowd," but for the wrong crowd, they both seemed awfully smart.
There are only three indispensable things: the audience, the actor and the author. The rest is dross.
The writing of a novel or short story or poem or whatever should elevate the audience, not drag the writer down to some level beneath herself. And she - the author - should fight always to prevent that dragging down, especially when the only possible benefit of allowing it to happen is monetary.
We teach them to take their patriotism at second-hand; to shout with the largest crowd without examining into the right or wrong of the matter -- exactly as boys under monarchies are taught and have always been taught. We teach them to regard as traitors, and hold in aversion and contempt, such as do not shout with the crowd, and so here in our democracy we are cheering a thing which of all things is most foreign to it and out of place -- the delivery of our political conscience into somebody else's keeping. This is patriotism on the Russian plan.
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