A Quote by Leanne Pooley
I really want the audience to be on the edge of their seats.
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As long as you keep the audience on the edge of their seats, either scare them or keep them guessing, you can put anything in there that you want.
When you're writing for the screen you're really thinking all the time of what you have to do to make sure that they have the information that they need, that the emotional thread is not snapped, that the story moves at the right speed, to keep the audience hopefully sitting on the edge of their seats or else weeping or laughing.
Sometimes, you know how good certain people are and then you actually get to see them have the kind of matches you know they can have in front of an audience that isn't used to seeing that. Then, in a few minutes the audience is on the edge of their seats, just through the sheer craftsmanship of their abilities.
WWE really likes to keep its fans on the edge of their seats and on their toes.
Being a celebrity you always get really good seats to sporting events but you never get as good seats as the photographers get. And I really love sports. So one of the scams I have going now is I want to learn sports photography so I can get better seats at a sporting event.
An actor is nothing without the vision of the director. The director needs to have a vision that will cross boundaries, that makes the audience sit on the edge of their seats and that pushes the envelope.
I want an audience that will come sitting forward in their seats.
I've always tried to make movies that pull the audience out of their seats... I want audiences to be transported.
When you go into the theatre and the lights dim, you want to entertain people from beginning to end. You want them to be swept up in your story, on the edge of their seats, unable to wait to see what happens next, be blown away and afterwards just go, 'Wow!'
Whether the theater is 1,000 seats or 500 seats or 200 seats, you have to make sure the person in the back of the theater can hear you and understand you. So there's a lot of articulation and a lot of voice in theater that really just isn't necessary when it comes to dealing with the camera.
The beauty behind killing someone who no one thinks you're willing to kill is, of course, that you throw people out of their comfort zone. And that's good because you want people to be on the edge of their seats.
As a manager, you look at who is going to get the fans on the edge of the seats.
Even in the tragedies, Shakespeare always put in parts for the comic actors because his audience was mixed. He puts in people who talk like aristocrats. He puts in idiots and fools. He puts in certain middle-range characters. And when you go to the Globe, you realize how that all works. The people who paid more sat in seats around the edge. Everybody else paid a penny. They put it into a tin box - that's why we call it the "box office." They stood in the pit, but they were very close, so when Hamlet was doing his soliloquy, it was addressed to you, the audience - right there.
People love a good thriller that makes them sit on their edge of their seats.
We played Carnegie Hall, and that was one time where I felt... Carnegie Hall as a legendary, very venerable place to perform. I'd never heard of anyone going into the Hall and kind of standing on the seats and playing throughout the aisles and having the audience stand on the seats. So when we did that in 2013, even for me it was a shock.
There were people that grabbed you just by talking, and that's what I loved about professional wrestling when I started out. That's why I'm already so good. That's why people literally hang on the edge of their seats when I have a mic because they want to know what I'm going to say.
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