A Quote by Ned Tanen
If you really don't care what an audience thinks, make a home movie and show it on your wall.
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When you're making a movie, you can't think anybody will ever see it. You've just got to make a movie for the values it has. The greatest films were made because someone really wanted to make them. And, hopefully, the audience will show up, too.
It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.
I had seen "Force Majeure" and I just love that movie so much. And I really wanted to artistically give a little hello to the filmmakers, and that kind of back and forth dialogue between artists that say, "I loved your movie. I was influenced by your movie. If I didn't have this job, I wouldn't be thinking of that. Do my TV show and then one day I'll make a movie where I can play with some of the visual themes in "Force Majeure."
When we make the show, we are always talking about how the show is really in between what we make and what the viewer thinks of it.
I learned a great lesson early on, even before I was really an actor, from that movie 'Planes, Trains & Automobiles' that John Hughes made: that you could make a movie that's really, really, really, really funny, and sometimes you can still achieve... making the audience feel very deep emotions as well.
Once I'm performing the show, I think that hour show has a certain intimacy with our audience. And that intimacy is through the lens and the live audience is a witness to that, whereas the audience at home is actually the object of my efforts.
I love the intimacy and the passion and the danger that go into independent filmmaking. Because it comes out of a creative necessity. It comes from people who really want to make a movie and want to make a difference and want to grab an audience by the gullet and show them something different.
What I do is write books for an audience that thinks in a movie language. That's the way I think, and I also believe that not enough authors keep up with the audience.
If you want to make movies you need to think on a micro-micro level and figure out how to make them for nothing with people who really care about your movie and really want to make it.
Why would I care what other people are thinking? I don't care what an audience thinks of me.
When you go to a movie, you don't care for one Oscar, really. Do you care if a guy got a Oscar on the shelf or is it a good movie? And, you don't care how much the movie made.
I don't want to show deleted scenes. I don't like an audience looking at what the movie might have been - if it's in the movie, it's in the movie.
I think everybody's goal was to make something that was really broad for a big audience, which was my goal too. But my main goal was that I wanted my audience to love it, because they're the ones who are going to buy it, and they're the ones who are going to tell their friends. And I wanted to make sure that core audience was really happy, because if they all buy it we have a successful movie.
Any actor wants their movies and their work to be seen. You don't make a movie or get into this profession for your work not to be seen and just to show them to your mates at home.
Movie acting is primarily listening. If you're really engaged, that's all a movie audience wants to see is you processing what's happening in your world.
When I show up to act in a movie for somebody else, I just want to be nice and helpful and do what they want because I know how difficult it is to make a movie. I don't want to cause any problems. So you show up and do your job, and I think if a director understands that, you don't make a lot of demands.
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