A Quote by Mike Leigh
I try and create for the audience something that relates to real-life experience.
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I try and create for the audience something that relates to real-life experience. When you're meeting somebody for the first time, all you have to go on are your preconceptions and your stereotypes and whatever else, but gradually as you get to know them, they change. They become more three-dimensional, and you start to see them in layers.
I'm trained in the theater, and acting, for me, is about the imaginative life I create for myself, not about basing it on something real. I think that whatever I create becomes the reality for the audience.
I was trying. I was crawling. I was coming into myself. I was trying to in some ways get beyond - what is the word that I'm looking for? - metaphorical language in painting, and to create something that was more indexical. And what I mean by that is that when you go to the library there's an index card that refers to a book that's actual and real in the world. So that index relates to something real.
Nothing can happen, nothing can occur in your life which is not a precisely perfect opportunity for you to heal something, create something, or experience something that you wish to heal, create, or experience in order to be who you really are.
As a writer, every time I create a character, I try to go for something to captivate the audience in some way. It's also an extension of how the audience would like to see themselves.
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.
Part of the reason I wanted to write a novel was that in fiction I could do something that's difficult to do in real life, which is to dwell on the stark details of the experience without really needing to create that narrative of redemption.
I think when you're younger, as an actor you have much more of a notion that you are doing something to the audience. But with experience, I think you begin to worry less about what the audience's experience is and concentrate on working with the other actors, and that tends to let the audience do more work.
My stated goal as a filmmaker is to feel something. Is to have a palpable emotion in my life, carry it through the gauntlet of the filmmaking process and try and have it land for an audience at some point during the viewing experience. That to me is successful filmmaking.
I want to create objects that will stimulate the viewer in ways that I am stimulated by these objects. Now that's an ideal situation and the artist has no control over what his audience is going to think, but they can try to communicate some quality, some poetry through the work and just hope that the viewer has something in the vicinity of a similar experience.
But work that's got real substance does make people feel, "There's someone else out there who relates to my experience, or who just helped me understand my own experience a little bit better." And I think that's still got enormous value.
I consider my work non-objective and I think abstract is an abstraction of something, like a landscape. Abstraction means something is abstracted. It relates to something. Non-objective relates to nothing. It has no object.
Rather than trying to create an audience, just try and create music that feels good to you.
There is something discordant about a team of speechwriters and political operatives hammering away to create an image of the 'real, inner' candidate. And, to be blunt, there is no necessary connection between a moving life experience and the skills necessary for leadership.
But the acting process - create a human being - was real, not only to the audience, but real to me.
Movies are a voyeuristic experience. You have to make the audience feel like they are peeking through a keyhole. I think of myself as the audience. Then I use light, framing, and motion to create a focal point.
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