A Quote by Edward Norton
In drama, I think, the audience is a willing participant. It's suspending a certain kind of disbelief to try to get something out of a story.
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One of the things that makes you want to be an actor, speaking only for myself, is that there's something infantile about it. You're suspending disbelief, pretending and entering into a story world.
A lot of my humor centers on the act of telling jokes and I think this can prevent certain audiences from suspending their feeling of disbelief. It might piss a few people off, but I can't help it.
I hardly ever think about audience. I just try to tell a story for me. I write the kind of story I would like to read.
Jazz music should be inclusive. Smooth jazz to me rules out a certain kind of drama and a certain tension that I think all music needs. Especially jazz music, since improvising is one of the cornerstones of what jazz is. And when you smooth it out, you take all the drama out of it.
You can't really do a big character in an action film; you're already suspending your disbelief in the action, then to suspend your disbelief in the character is too much.
I think I have a certain kind of style. I think at the same time, I'm aware that there's certain things that I did as a playwright in certain plays, and I try not to repeat myself, even though I have a certain kind of sensibility, and I tend to gravitate toward certain things.
Audiences - they like colour, you know. I can go out there wearing a red suit, man, and they'll say I'm out of sight ... I think they should be educated; you should always drop something on an audience ... When you get in front of an audience, you should try to give 'em something. After all, they're there looking at you like this. You can't go out and give 'em nothing.
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.
Sometimes, in certain stories, I think we know at the outset essentially what the tone is going to be, or it becomes important that we're groping toward some kind of story with a certain kind of tone that we both get somehow. But I don't think how that's combined with other elements is ever in any way overtly discussed.
I think I'm always very naïve. With 'Kill Your Darlings' and 'Horns', I'm like, "Why wouldn't everybody love this?" But I guess it's going to divide people in some ways. But if you're willing to go with it and suspend your disbelief, you're going to get something amazing and something unlike anything else.
I don't think all films should necessarily look like they do on digital video. I think it cheats the audience, at some point. If you try to make an epic and you shoot it digitally, that doesn't make much sense. I think there's a certain kind of film that could be a "digital film." But it shouldn't be interchangeable with other films. It should be something more than just a capture medium. It should be a different form altogether, something new.
When I was younger, I would go to auditions to have the opportunity to audition, which would mean another chance to get up there and try out my stuff, or try out what I learned and see how it worked with an audience, because where are you gonna get an audience?
I think nothing can be taken for granted - be it the fact that you get to work with a certain kind of talent, certain kinds of budgets, or that the audience looks forward to your work.
I learned with 'The Disaster Artist,' when I was writing the book, the audience will follow you if you really try to do something different. The biggest thing is, you want to be genuine and try to surprise your audience with kind of a new direction.
I have come to make Hindi films to cater to a certain kind of audience, which looks for entertainment. I feel my strength here as a director will fail if I ever try something experimental.
When I started that's how I wrote because I didn't know any better. I was just like "I want to make music." Then there were all these things that I learned to get myself over certain humps, but I think it just comes down to: do I have something to say or not? If I'm feeling something I should try to get that out, and maybe it's not words, but trying to turn it into something.
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