I really like suspense in movies. I don't really like rom-coms. But that being said, as an audience member I really like horror films and actress I really like working with fake blood; I think it's so fun.
The thing for me, and I can only really judge this by what I respond to myself as an audience member, I really only respond to a movie if I'm interested in the people who are in it. It's really that simple. If I'm not, then it's all noise.
I mean it allowed me to do that which was fantastic because we really get to see the character mature and deal with some things that are, that I think as an audience member, really pull us in.
Sense of place is really big for me - as a filmmaker and as an audience member, it's huge.
Part of the discipline of being an editor is that you have to be a good audience member; your work is to be a surrogate audience member on the films you are working on.
I make some movies for myself. I do that sometimes when the subject matter is very sensitive and very personal and I really can't imagine that I'm an audience member. I would lose myself too much if I thought of myself as the audience. There are other types of genre films that I need to be able to direct from the audience, to be right next to you watching the picture being made.
I think once you've finished a movie you really have to detach from it so that you can come back and watch it as an audience member.
Many times, I like to read the script before I even know who they want me to play, so I can read it and really enjoy it as an audience member. I think that's given me the ability to ferret out the really special scripts from all the rest.
Genre is a really great shorthand you can have with an audience. In the same way you can use music to create a connection with an audience, it brings so much of their knowledge of what genre really is to the table. You have a shortcut to connect with them. I really like that.
You start as an audience member and create a world you're interested in, and then you move into the telling of those stories, bringing what has interested you as an audience member.
My dream was always to have an experience where an audience member would turn to another audience member, a stranger, and be like, 'What did we just go through?' And, like, kind of begin to talk.
I don't understand choreographers who say they don't care about the audience or that they would be happy to present their works non-publicly. I think dance is a form of communication and the goal is to dialogue with the audience. If an audience member tells me they cried or that the dance moved them to think about their own journey or a family member's, then the work is successful.
There is always a reverence issue, and I'm no different from any audience member that if someone's adapting a book or comic that I like, I really don't want them to screw it up.
Playing live is much more natural for me. The instant reaction and the feedback from the audience is great for me. I really relish it. And if you play blues-based music, it's not really academic music or recital music. It really needs a bit of atmosphere and a bit of interplay and a bit of roughness, and you really get that with an audience.
A pleased audience member is a pleased audience member, whether they're in New York or Mumbai.
When you're watching yourself work, you're not really an audience member for yourself. Even being confronted by your own image can be jarring sometimes. The experience of making a movie or a television show is this really full one, and sometimes you see it and even if it's a great piece of work, it's not the experience - i t's almost sad because it reminds you of something that isn't anymore.