A Quote by Dino De Laurentiis
The audience wants to be attracted not by the critics, but by a great story. You must deliver to the audience emotion - and when I say emotion, I mean suspense, drama, love.
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I'm reaching for emotion and drama, the drama of the everyday: what happens when you don't have shelter, food, and clothing. There are some stakes. If you're displaced or evicted, there's a suspense: How will you solve that?
I'll tell you this: you cannot escape the impact of emotion, whether it's in a big theater or a tiny one. If you have it, it inflates you — correction, 'inflates' is not a good word. If you have it, it infects you and the audience. If you don't have it — don't bother; just say the lines as truthfully as you are capable of doing. You can't fake emotion. It immediately exposes the fact that you ain't got it.
Sometimes critics disagree with the audience, and that's fine. I make movies for the audience. I guess I hope that the critics like it, but on the other hand, I just really want the audience to like it.
Emotion is always multiplied in the art of a person who doesn't really show much emotion. It once expanded deep within his hidden soul, and following the downplay his audience is blown away.
A patriotic song is an emotion and you must not embarrass an audience with it, or they will hate your guts.
Laughter's good, but it's not love. It's one aspect. One emotion you're eliciting from your audience.
All art, in spite of the struggles of some critics to prove otherwise, is based on emotion and projects emotion.
As writers, we're always trying to connect with the audience on a visceral level. We usually do that through drama, through emotion or through humor.
I think that the audience is smart enough to know that just because a drama is relating to real-world parallels, it doesn't mean that its story is exactly that story.
The emotion, and the other aspect is that this relate to many different obstacle in life. Emotion, yes, I love emotion, for your information, very much so.
If you can get an audience to identify themselves with a character, they will subconsciously feel that their own lives are in danger. People tend to pay attention in situations like that. I think fear is the easiest, and most visceral, emotion to activate in an audience.
It could be sci-fi, love story, historical drama what counts for me is the fact that they're made by great directors with a great point of view who bring the audience to be elevated and at the same time entertained. That's what cinema is.
Emotion can be the enemy, if you give into your emotion, you lose yourself. You must be at one with your emotion, because the body always follows the mind.
I think that with any emotion - fear, love, nervousness - if the actor's feeling it, then the audience feels it.
I want to tell stories which require something of an audience, by way of thought, argument, emotion, because I'm more often in an audience than I am a maker of films, and that's the kind of movie I want to see.
I can understand how technologically advanced action has become in our movies, but unless there is emotion or a strong story, it doesn't work. With every action sequence, there must be an emotion to justify it.
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