A Quote by Francesca Hayward
When I'm performing I just want to tell the audience something. I want every person watching to walk away feeling something.
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You want to go to a place where you work every day, where you get to tell stories that look and feel like the audience in America that are watching. You're really limited, if you walk into a room and you can just tell stories about that. So, we've been really blessed.
I want the audience to walk out of the theater feeling they got their money's worth. Every movie that I enjoy, I leave the theater with something to take with me.
I want to go and write music that announces to you that you can feel something. I don’t want to tell you what to feel, but I just want you to have the possibility of feeling something.
I want to tell my jokes. I want to have time with my children. I want to entertain people. And at one point, I'll walk away from show business. But I don't want to walk away empty-handed.
Now, I want to explain something to you guys. I don't have an ending joke, because I don't tell jokes. I tell real-life stories and make them funny. So, I'm not like the average comedian. They have an ending joke; they always holler Peace! I'm out of here, and walk off stage. So, basically, when I get through performing on stage, I just walk off.
My mother used to say, "Tell your brain you want that piece of information or you want to solve this problem, and then just walk away from it. Just forget about it. Just do something else, completely distract yourself, and you'll see, it's like a computer. Eventually, it will deliver it up." And I find that's really true.
Don't you just want to make something that lives forever? Something that's phenomenal, something that's great, something that's undeniable? That touches the core of every person that hears it?
In every person we meet there's this little piece of God in them and that's who you talk to. And that's the only person that you allow to talk to you. When something else is speaking, you walk away from that. If it's not good, if it's not love, you walk away from it.
In every person we meet there's this little piece of God in them and that's who you talk to. And that's the only person that you allow to talk to you. When something else is speaking, you walk away from that. If it's not good, if it's not love, you walk away from it
She laughs and looks out the window and I think for a minute that she's going to start to cry. I'm standing by the door and I look over at the Elvis Costello poster, at his eyes, watching her, watching us, and I try to get her away from it, so I tell her to come over here, sit down, and she thinks I want to hug her or something and she comes over to me and puts her arms around my back and says something like 'I think we've all lost some sort of feeling.
When I'm an audience member I do not want to go and see something that I already know, I want to see something that I don't know. I want to be surprised and stimulated to think about something. I want the magic. I want to be in a situation of uncertainty; that's what excites me.
If people tell me something is impossible, I just want to prove that. I want to know that that's for certain. I don't want to not do something because someone says I can't.
My mate Karl once told me he’d been looking after this five-year-old boy who – not knowing enough to have an ironic inflection to his words – said, ‘I want something.’ He didn’t know what it was. Not ‘I want sweets’, or ‘a can of Coke’, or ‘to watch the Tweenies’, or whatever it is they’re into now (I like Bagpuss), but ‘I want something.’ All of us, I think, have that feeling. And what heroin does when you first start taking it is tell you what that something is.
Once something gets noticed and people love you, most of the makers want to put you in the same bracket, feeling this is what the audience would want from an actor. But as an artist, I don't want to be in that space.
Often, if there's something that I want to do, but somehow can't get myself to do, it's because I don't have clarity. This lack of clarity often arises from a feeling of ambivalence - I want to do something, but I don't want to do it; or I want one thing, but I also want something else that conflicts with 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.
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