A Quote by Francesca Gregorini

Ultimately, what audiences respond to is truth. Even as fantastical as the story can be, and out there, at its core, it's dealing with loss, madness and mortality. — © Francesca Gregorini
Ultimately, what audiences respond to is truth. Even as fantastical as the story can be, and out there, at its core, it's dealing with loss, madness and mortality.
There is no passion, more spectral or fantastical than hate, not even its opposite, love, so peoples air, with phantoms, as this madness of the heart.
The name Downhere comes from a song I wrote after a friend of mine died in college, and it was kind of the first time I was dealing with loss and, you know, real mortality, and it was a song of how down here on Earth, we don't have the big picture.
When writing fantastical literature, your biggest problem is getting your audience to believe the fantastical elements of your story.
I hear actresses talking about this all the time - this idea that you sit in meetings and the studio says, "Well, you can't do that because the audience won't like that. They won't root for you. It's not sympathetic." I think that we've been served this one dish for so long that we believe that it's all that audiences want, but when we test them or throw something out there that has some truth to it, they seem to always respond.
I understand why creative people like dark, but American audiences don't like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.
As an actor, you have to have trust and believe that somebody is taking care of you or watching your back. With a part like this, especially with where we're going with it, I can't pull any punches. I can't do it halfway, especially when you're dealing with madness and this descent into madness.
I understand why creative people like dark, but American audiences dont like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.
I don't care whether the story is real or fantastical. I tell the story that needs to be told.
Society isn't good at dealing with people who have something concrete to feel guilty about or who are dealing with a loss.
For many people, illness - loss of health - represents the crisis situation that triggers an awakening. With serious illness comes awareness of your own mortality, the greatest loss of all.
The matinee audiences are different because they're mostly kids, a great percentage kids. So they respond to everything differently, but I understand what they do respond to.
I think the difference between a lie and a story is that a story utilizes the trappings and appearance of truth for the interest of the listener as well as of the teller. A story has in it neither gain nor loss. But a lie is a device for profit or escape. I suppose if that definition is strictly held to, then a writer of stories is a liar - if he is financially fortunate.
If you get into introspective blues or something where you're stretching out a bit, large audiences don't respond to this, so you have to give them what they want, basically.
There are many kinds of loss embedded in a loss - the loss of the person, and the loss of the self you got to be with that person. And the seeming loss of the past, which now feels forever out of reach.
As an actor, you know when you've got great material in front of you. When you're working, you think, 'Is this the one? The one that everyone will respond to and be moved by?' You pray that you have told the story well... that your peers will see it and audiences will love it.
It was exciting to play a gay person in high school who's really proud of himself and isn't dealing with the sort of typical story line - the coming-out story - but is already out and sort of an advocate in his own way.
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