A Quote by Niki Caro

Sense of place is really big for me - as a filmmaker and as an audience member, it's huge. — © Niki Caro
Sense of place is really big for me - as a filmmaker and as an audience member, it's huge.
I was an audience member before I'm a filmmaker. All I've tried to do as a filmmaker was to make movies I want to see.
It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.
As a filmmaker, I wish we didn't have to do trailers at all, quite honestly. I wish we didn't have to do posters. I wish didn't have to give anything away. I wish people could just come in the movie blind. But as an audience member, I respect that you have to tell an audience that this is worth your time.
I don't understand choreographers who say they don't care about the audience or that they would be happy to present their works non-publicly. I think dance is a form of communication and the goal is to dialogue with the audience. If an audience member tells me they cried or that the dance moved them to think about their own journey or a family member's, then the work is successful.
I think the biggest challenge was being aware of a certain audience that was going to see this film [lone survivor]. There's a big difference from a typical movie, journalists and critics and film goers that go see it find that, that's the general experience you have as a filmmaker. So that just kind of proves my point that there's a really different audience.
Part of the discipline of being an editor is that you have to be a good audience member; your work is to be a surrogate audience member on the films you are working on.
I've been a huge fan of the cable network FX for a very, very long time. I think their brand of comedy is incredible. For me, as an audience member, that's a go-to channel.
You start as an audience member and create a world you're interested in, and then you move into the telling of those stories, bringing what has interested you as an audience member.
My dream was always to have an experience where an audience member would turn to another audience member, a stranger, and be like, 'What did we just go through?' And, like, kind of begin to talk.
I mean it allowed me to do that which was fantastic because we really get to see the character mature and deal with some things that are, that I think as an audience member, really pull us in.
Many times, I like to read the script before I even know who they want me to play, so I can read it and really enjoy it as an audience member. I think that's given me the ability to ferret out the really special scripts from all the rest.
The thing for me, and I can only really judge this by what I respond to myself as an audience member, I really only respond to a movie if I'm interested in the people who are in it. It's really that simple. If I'm not, then it's all noise.
A pleased audience member is a pleased audience member, whether they're in New York or Mumbai.
People don't know where to place me, and I think that's why my audience is so big.
I learned a lot of different things from different schools. MIT is a very good place…. It has developed for itself a spirit, so that every member of the whole place thinks that it’s the most wonderful place in the world—it’s the center, somehow, of scientific and technological development in the United States, if not the world … and while you don’t get a good sense of proportion there, you do get an excellent sense of being with it and in it, and having motivation and desire to keep on
I find that it's not the numbers but the quality of the audience. That's why it got to be such a big thing when I left Microsoft, because I had an interested audience; not huge, but passionate. The passionate ones are the ones who change society.
This site uses cookies to ensure you get the best experience. More info...
Got it!