A Quote by Heather Matarazzo

It doesn't matter if a critic pans or praises my movies, I am only concerned about that one audience member and what their experience is. — © Heather Matarazzo
It doesn't matter if a critic pans or praises my movies, I am only concerned about that one audience member and what their experience is.
My mother never met a gadget she didn't like. There were tube pans for baking the angel food cakes my father could have after his first heart attack, and Bundt pans and loaf pans and baking pans and grilling pans.
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'm not a huge fan of 3-D, though. Honestly, I think that movies are an immersive experience and an audience experience. There's nothing like seeing a film with 500 people in a theater. And there's something about putting on 3-D glasses that makes it a very singular experience for me. Suddenly I'm not connected to the audience anymore.
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 try to think about me, as an audience member, and it [inspiration for movies] comes from there.
I actually think I have an audience member's sensibility about going to the movies.
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.
I've been escaping my whole life. Since I was a little child, I escaped into the movies on the other side as an audience member. I escaped by going into the movies and sitting in the movies all day long.
The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.
I was never a critic. I was a journalist and wrote about filmmakers, but I didn't review movies per se. I make that distinction only because I came to it strictly as someone who was just a lover of storytellers and cinematic storytellers. And I still am. I'm still a great movie fan, and I ,that love of movies is very much alive in me. I approach the movies I make as a movie-lover as much as a movie-maker.
I am not concerned about my foreign audience.
Tri-ply pans try to split this difference by sandwiching a layer of aluminum in between two layers of steel. They heat evenly and store plenty of energy. Tri-ply pans are also more sturdily constructed than disk-bottom pans, which have aluminum disks attached only to their bottoms.
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.
We're all so jaded. We've seen so many movies. We know what's going to happen in every single movie. I mean, there are some movies where I'm like why do I even need to keep watching? And so, if you can make a movie in which you're completely surprising the audience left and right, and left and right, then you've won. If a jaded film critic or reporter or an audience is like, "I didn't see that one coming," that to me is like a victory.
I always knew that if I was ever going to perform something that I wrote in front of an audience, I was going to do the thing I most like to experience as an audience member, which is to be tricked.
I appreciate artistically made movies, but as an audience member, I want to be entertained, too.
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