A Quote by Dallas Roberts
Once the audience has to use themselves to cross the distance to the character, that's what's really exciting. That's when it starts to be a discussion between the art form and the audience, and that's fun stuff.
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That's like the really fun, exciting thing about wrestling. There's no such thing as perfecting this art. You're constantly growing and you're constantly progressing and changing up you're style and gauging an audience to make sure that audience is enjoying what you're doing.
What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.
In theatre, the main objective is to make the art happy, not the audience! If you have to choose between the audience and the art, always choose the second! You must know that the audience will always pull you down; resist it and fly at the heights like an eagle!
Films for TV have to be much closer to the book, mainly because the objective with a TV movie that translates literature is to get the audience, after seeing this version, to pick up the book and read it themselves. My attitude is that TV can never really be any form of art, because it serves audience expectations.
The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.
I feel that tennis is an art form that is capable of moving the players and the audience - at least a knowledgeable audience-in almost sensual ways. When I'm performing at my absolute best, I think that some of the euphoria I feel must be transmitted to the audience.
The next time I write a play - in order to get audience trust for a particular sort of tragic line, I'll try to bring the audience a good distance before that. Part of that is allowing comic moments to occur. I had been afraid of that - that once the audience started laughing in the play, they would never stop.
You have a certain objectivity, as a member of the audience, and you can come away maybe being provoked into a certain discourse or a certain arena of questioning, regarding how you would deal with things that your character has to deal with. Whereas when you're doing a film, once you start asking, "What would I do?," you're getting the distance greater between yourself and the character, or you're bringing the character to you, which I think is self-serving, in the wrong way. The idea is to bring yourself to the character.
Even though standup seems like one-way conversation, if you're doing it right, it's actually a two-way discussion between the comic and the audience... the audience just happens to be communicating through laughter.
I love my cross-sectioned, cross-cultural audience. Some of them are doing better than the average guy, but my audience has always been people who are struggling to stay in the middle class.
I think once those friendships, if you use that as an analogy, the friendships between the audience and the character is established, then you can start to take liberties. I believe that as this unfolds people will find the time invested worthwhile.
It's interesting to play that [ Thomas in The Maze Runner], actually. The audience gets to see the character discover who he is, things that he never even knew about himself. I love that Thomas starts out as the newbie, as the 'Greenie', and the audience kind of experiences that through his perspective. It's really cool to watch him discover these leadership qualities that he has, and the way you approach it... I guess, just honestly. As honest as you can, really.
There's some anxiety the 30 minutes before the show starts. But once you step on stage and face the people, everything goes away, and you have fun and enjoy the audience.
As a writer, every time I create a character, I try to go for something to captivate the audience in some way. It's also an extension of how the audience would like to see themselves.
Illusion starts between the ears. If the person doing illusion doesn't believe it, then the audience doesn't believe it. Seeing the picture in your head will allow the audience to see it in their heads.
Certain jobs [films] are for the business really, because they get an audience, they get a global audience. Certain jobs are as an artist. If I can keep moving forward and strike some form of balance between them two, then I'm going to feel content.
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