A Quote by Quentin Tarantino
If it's too much for people, if audiences don't accept it, well I guess that's just the way it is. I'm not being cavalier when it comes to my financial partners, but I think I've earned the right to do my thing my way. While I really want it to do well and it would be lovely if it's popular, movies are for a long time. I'm really proud of the piece. If it ends up not connecting with audiences, I won't be heartbroken. I'll be a little disappointed, but I won't be heartbroken.
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In the '50s, audiences accepted a level of artifice that the audiences in 1966 would chuckle at. And the audiences of 1978 would chuckle at what the audience of 1966 said was okay, too. The trick is to try to be way ahead of that curve, so they're not chuckling at your movies 20 years down the line.
What happens is people - especially, I think, audiences in the United States - people confront new things a little bit afraid. It's like when you're a kid and your mother puts something on your plate you never ate before. I think that American audiences are very much like that, and when they can accept something new they can accept the next new thing, it's incredible. And what happens is that their expectation of what things should be is elevated, and that's really terrific for us.
What's very important for me is that I want family audiences - all kinds of audiences - to watch my films, and the more people who watch the movies, the better. So I want to be part of popular cinema.
To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.
I don't know if what kids really want is a hamster. What they want is a dog. So the hamster ends up being a substitute: 'Well, would you accept this?'
I'm not really much of a genre guy. I think that audiences don't need that anymore where you just need a very specific genre. Audiences are very sophisticated, and as long as it's fun, it's okay and entertaining.
Being heartbroken is like having this really horrible freedom. You can be selfish with your thoughts, which can lead to manic creativity, but at the same time you're just really miserable.
As much as I love acting and I hope to be doing it for a long time, it almost feels more natural for me to be a producer. I came into all of this because I'm a fan of movies and I wanted to find any way I could to be a part of it all. I happened to take the acting route but it could have been a million different ways in. Now that I'm producing it's just really fun for me to work with people that I really admire and put people together who I think will work well together. Just having a little more control.
People identify with being heartbroken. We've all been heartbroken, haven't we? I've been dumped, and it feels horrible.
Film just chews up actors like nobody's business, and I'm not particularly interested in being chewed up. I think the camera can only look at somebody's face for so long. I guess you have to accept the roles you think are right at the time. You can build a career, but these days there doesn't seem to be that much interest in people being actors.
Well, the coffeehouse audiences never know what they're going to get, and all the comics are different, as opposed to when you go to a club, and they're pretty much all telling jokes with set-ups and punchlines. Coffeehouse audiences are the most forgiving: They really listen, which is the best part.
London audiences are tricky, too. They don't laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.
I think audiences crave something new. I don't think audiences want the same old thing, no matter how much conventional Hollywood tells you that.
I think honesty is the ultimate liberation in life. People want to shy away from the truth and keep sweeping it under the rug. But after a while, you pick up the rug and there's just way too much dirt, so you might as well
just be up front about it.
We've played two shows with seated audiences, and two with a standing audience. Both were cool. Sitting is more mental, in a way, [but] after a while they really want to get up and move. It's very euphoric, I think, because people see what's actually going on. The energy takes over.
I'm a really optimistic, positive person, but I've been heartbroken on a social and political level, heartbroken on a personal level and anywhere in between. I think heartbreak is one of the best artist's catalysts for creation. That doesn't mean one should look for heartbreak; I don't agree with that. At a certain point you can use heartbreaks from other people's stories, your own life or before. You don't have to dwell on heartbreak.
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