A Quote by Paul Dano
I know I am always pumped, as an audience member, to go and see a Western.
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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.
All I know is that as an audience member, I am less and less inclined to go to the theater.
All I know is that as an audience member, I am less and less inclined to go to the theater. But that has to do with content and also because the venues seem to be actively trying to repel people.
When I'm an audience member I do not want to go and see something that I already know, I want to see something that I don't know. I want to be surprised and stimulated to think about something. I want the magic. I want to be in a situation of uncertainty; that's what excites me.
What I enjoy about my work is that it's all things that I wanted to see as an audience member so there's part of me that understands what an audience wants to see in that respect.
Well, you know, first of all, let me just say that I am a proud member of the NRA and have been, and I'm a lifetime member and will always be.
I go to a lot of independents and foreign films. I really try to keep up and see what there is to see. If you really love movies, it's the act of watching them that you really love. You can sit and watch a B-Western and have just as much fun watching that as you can a classic. That minute when the lights go down is the part where the magic happens, because you know this could be great. You're always kind of excited, like, "Here I am again in the church of movies, and Mass is starting.".
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.
If I have any audience, they can know that anything I am in, I would go see, with the expectation of being really satisfied.
I always want to be a member in the audience, and I want to hear it from their point of view and see it from their point of view so I can know if it's good. But that's just my issues, not a real problem.
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.
Western man, especially the Western critic, still find it very had to go into print and say: "I recommend you to go and see this because it gave me an erection."
TV is easier: it's all planned out for you and the audience is there to see a show and they are all pumped up but when you are in a comedy club, you have to be really funny to win them over.
Whatever I receive from a higher power gets me pumped, which gets the crowd pumped, which gets me more pumped, and then we're just pumped up.
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.
TV is easier: it's all planned out for you, and the audience is there to see a show and they are all pumped up, but when you are in a comedy club, you have to be really funny to win them over. To me, that's more pure.
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