A Quote by Lee Siegel

The sitcom's traditional role has been to comfort the viewer who feels burdened by the unreality of American expectations. — © Lee Siegel
The sitcom's traditional role has been to comfort the viewer who feels burdened by the unreality of American expectations.
The expectations of the viewer are what you're asking about. And the expectations of the viewer are manifold. However, they are very fixed, given who I am in the world. People have certain expectations of me as an artist.
I wouldn't consider myself a traditional sitcom actor or someone you'd even think would be in a sitcom.
I don't think that there are many, many strong, black male role models who provide a certain kind of really American, Southern-based comfort that Madea grows out of. She's a signpost in our Obama world of traditional Christian values.
The traditional American husband and father had the responsibilities-and the privileges-of playing the role of primary provider. Sharing that role is not easy. To yield exclusive access to the role is to surrender some of the potential for fulfilling the hero fantasy-a fantasy that appeals to us all. The loss is far from trivial.
I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.
An auctioneer is such a uniquely American thing. I keep thinking in my head, perhaps it's not as American as I think, but it feels so Southern. It feels so American. Like, hundreds of years of American tradition is involved in it.
Traditional American values: Genocide, aggression, conformity, emotional repression, hypocrisy, and the worship of comfort and consumer goods.
I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath there is a hidden theme. The result of each twist is that the judgment of the audience member is challenged.
She was in a difficult position being the widow of a great American hero, a role that carried high expectations but she did a credible job of continuing Dr King's dream especially in the face of a changing and often hostile American public.
I really set out to do this traditional looking and traditional sounding multi-cam sitcom, but then make the world as elastic as an animated show could be. Make the world as surreal as we wanted it to be.
I have no choice but to admit that, for a while, I was a casual viewer of 'American Idol.' By 'casual viewer,' I mean I watched every episode aired between 2004 and 2007.
The average late-night viewer is in their mid-50s and the average viewer of TBS is in their 30s and is largely African-American and Hispanic, already, before I even get there.
My popularity has to do with the divorce between modern art, where everything is obscure, and the viewer who often feels he needs a professor to tell them whether it's good or not. I believe a painting has to talk directly to the viewer, with composition, color and design, without a professor to explain it.
'Caroline In The City' was such an interesting thing, because I'd never been on the set of a sitcom or even auditioned for a sitcom when they gave me that part.
An exhibition is in many ways a series of conversations. Between the artist and viewer, curator and viewer, and between the works of art themselves. It clicks when an exhibition feels like it has answered some questions, and raised even more.
I couldn't see myself doing a traditional sitcom.
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