A Quote by Danielle Brooks
I think theater and church are so relatable because it's traditional call-and-response in the way that an audience interacts with the actors.
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I think film is a world of directors. Theater is a world of actors. Or, theater is for actors as cinema is for directors. I started in theater. Filming is as complete as directing film. In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple as that. So, you are given all the tools.
People think that theater actors are too big for the camera. It's like, 'No, we're actors and we adjust for our audience.'
In the theater, I could envision myself as wonderful because of the audience response to my lines.
The difference between working with actors that have put their time in the theater and just straight film and television actors is that you trust theater actors a lot more. You know that they're seriously more trained than anyone else because theater is the best place to grow as an actor.
I think I'll never stop doing theater because it's a more physical and athletic activity. You can't pull any punches; there are no short cuts, and you have to be physically present and committed. I love the excitement and the response of being in front of a live audience.
I think about the audience in the sense that I serve as my own audience. I have to please myself the way, if I saw the movie in a theater, I would be pleased. Do I think about catering to an audience? No.
I happen to think that the Latino audience is an essentially traditional audience and will go to Fox News for traditional American values.
My audience is made up of two groups of people. The first group includes people whose roots are deep in the Christian faith, but for whom the traditional symbols, as traditionally understood, no longer make sense. The other audience is the audience that has left. I call them the Church Alumni Association, citizens of the secular city. They are a bit nostalgic about this faith of their childhood, but they aren't really interested in trotting it out or becoming involved with it again as it is presently organized.
I'm conflicted with theater in the city because you want to reach a diverse audience, and that audience doesn't typically go to the theater.
The way that music is approached in the temple is very call and response; it breaks down that barrier between performer and audience.
I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.
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 think the most interesting things happening in VR are going to be somewhere in between what you call a traditional game and what you call a traditional movie.
What I strive to do is to make the theater experience something that people remember and recall rather than dismiss because it was less like their everyday experiences. So, I'm less interested in internal emotionalism and much more in making the audience laugh and cry by the devices that we use as theater actors.
I think kids, in general as an audience, are the way forward because they're not sort of sullied by intellectual expectation or this or that. It's a very pure kind of response to the work.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.
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