A Quote by Elena Tonra
There’s nothing more emotional than looking out at an audience and knowing they’re there because they understand.
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There's nothing better than looking out into the audience and having a whole sea of glowsticks staring back at you.
Go out there and play hard, understand your teammates, understand the other team's gameplan, understand your coaches' philosophies and what they want you to do. There's nothing better than showing, though; more than talking, you have to make your actions speak louder than words.
The black experience, which has nothing to do with my play 'Angels in America,' allowed me to understand the Mormon character. He was the character that couldn't come out to his mother. It allowed me to understand emotional and closeted behavior, because you're so acutely aware of how you're perceived.
Nothing—absolutely nothing—in this life gives you more satisfaction than knowing you’re on the road to success and achievement. And nothing stands as a bigger challenge than making the most of yourself.
It's difficult to judge other actors, because as an actor you're looking at different things than what an audience is looking at.
I've never been very comfortable as an actor looking out into the audience; I always like to keep my focus on the other person. When you start playing out to the audience, it takes me out of it, because people don't do that when you're in life behaving with another person - you don't often look out, around you, in a presentational manner.
I found myself desiring and knowing less and less, until I could say in utter astonishment: "I know nothing, I want nothing." Earlier I was sure of so many things, now I am sure of nothing. But I feel I have lost nothing by not knowing, because all my knowledge was false. My not knowing was in itself knowledge of the fact that all my knowledge is ignorance, that "I do not know" is the only true statement the mind can make....I do not claim to know what you do not. In fact, I know much less than you do.
Acting is bad acting if the actor himself gets emotional in the act of making the audience cry. The object is to make the audience cry, but not cry yourself. The emotion has to be inside the actor, not outside. If you stand there weeping and wailing, all your emotions will go down your shirt and nothing will go out to your audience. Audience control is really about the actor
As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.
Nothing is more difficult than to understand the dead, I've found; but nothing is more dangerous than to ignore them.
Starting out, they told me: 'You're a good-looking guy. We'll put you in this role, and you can be a conduit for the audience into this side of the story.' But I've grown up, and that's not what I want anymore. My concept of the job I do has evolved. And it is a job, nothing more.
I actually run a non-profit where one of the main objectives is to branch out and get a new audience for the theater. Just because the writing is so good and nothing is more effective than seeing something live and happening right in front of your face, so I definitely want to continue to pursue that.
What's more American than young people speaking their mind over things they had to create over pots and pans and electronically because music was taken out of schools? What's more American than making something out of nothing? What's more gospel than rap music?
I do think there's a smaller audience that's looking for something that's a little more adult and a little more nuanced [than many Hollywood movies]. At the same time, I think everyone who's making movies hopes to appeal to the widest audience possible.
The key to overcoming adversity is to be ready to understand that you have enough, no matter what rug is pulled out from under you. You can't live in fear, or thinking "I'll never figure it out." The more consciously we can understand what we're experiencing, the more that is our protection. So, we run into adversity, but we don't have to stay there if we have imagination and a way to help ourselves change course. Sometimes we can't - knowing the difference is wisdom and the acceptance that we have enough.
I tell the audience every night, "I hope you didn't pay more than face value on that ticket, because we ain't worth more than that, and you ain't gonna get any more than that."
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