A Quote by Michael McElhatton
You just never know how an audience is going to react.
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Every single night I'm nervous. You never know how the audience is going to react.
You can have a good vibe and a good feeling about something, but you never really know how it's going to be received and how an audience is going to react to it.
When you're writing for the screen, you have to be hyper-conscious every moment of how the audience is going to react. If you write just one scene where the audience is confused or it breaks their concentration in some way, then you've lost them, and you might never get them back.
The first tour an artist does is a strange one... because you can never tell how the audience is going to react.
Usage is like oxygen for ideas. You can never fully anticipate how an audience is going to react to something you've created until it's out there.
You never really know what's going to happen. You never know what the audience is going to be like or how they're going to behave.
With a first season, you never really know how viewers or the network are going to react to a show.
You know, I'm the mayor of Realville. I'm Mr. Literal. And I never saw the benefit of complaining and whining and moaning. I don't complain and whine and moan anyway, and I don't deal well with people that do. I don't know how to react to complaining, other than say, "Oh, gee, I'm sorry." I don't know how to react to whining and moaning. It kind of bothers me. So I don't do it myself. Lord knows, I got all kinds of things. I could spend the rest of this week whining and moaning if you wanted me to about things. I just don't.
I know it's going to sound like a cliché, but the key of successful playing a role is to sort of keep it real and earnest and react the way that one would react in those situations. Where the disconnect between the movie and the audience would happen is if you go too big or too crazy with that stuff.
People say never work with children and animals. I actually like working with Oliver Bell, and working with a rat really opens possibilities to you because you don't know how it's going to be. It's just a rat, so you can just react to this rat being a rat, if that makes sense.
It's hard to be taken seriously if you're a young, female artist making pop music; you never know how people are going to react.
With cinema it's a different ballgame, you really don't know how the audience will react, so one has to tread carefully.
In not-for-profit theater, you don't worry so much about how the audience is going to react. You want to make them absorb the piece.
You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
I never look at the internet because then you just have nothing else to do but just look. Most generally, and even myself as a consumer, you think you know what you want. But what's more interesting is figuring out what you don't want. I think the only way that I can do that is just to do what I think is right. That is the only real gesture of respect. Then people can react to the movie how they want to react.
What I react against in other people's work, as a filmgoer, is when I see something in a movie that I feel is supposed to make me feel emotional, but I don't believe the filmmaker shares that emotion. They just think the audience will. And I think you can feel that separation. So any time I find myself writing something that I don't really respond to, but I'm telling myself, 'Oh yes, but the audience is going to like this,' then I know I'm on the wrong track and I just throw it out.
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