A Quote by Ray Stevenson
Hence the genius of having Ken steer this ship as well. You have to invest these characters with a Shakespearian quality and not in a way that might disengage the audience but in a way that actually lets you play to an audience.
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The way you survive in the performing arts is by having a sense of your audience, and doing things which entertain and satisfy the audience, but in a more important way, cause the audience to question many things.
Even though standup seems like one-way conversation, if you're doing it right, it's actually a two-way discussion between the comic and the audience... the audience just happens to be communicating through laughter.
There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to, first of all, the environment in which it's being staged; then the audience, the nature of the audience, the quality of the audience.
I'm someone who is pretty modest and doesn't like to talk about my love stories. Songs bring a lyrical quality to it, simply. It allows the audience to perceive the characters' love life in a way that is much more obvious than it might have been.
So the audience, at times, lets us know actually what is so special about the show that we can't even necessarily design or predict. Which is great. That's what you want art to be. You want it to be alive and to actually have a life in the way it's viewed.
I don't think, there's no possible way for me, anyway, to play a character that I haven't found some sort of sublime compassion for and I related to Deborah on a way that almost, initially, almost in a way maybe someone in the audience might.
You turn the computer into the storyteller and the player into the audience, like in the old days when the storyteller would actually respond to the audience, rather than just having the audience respond to the storyteller. I had an enormous amount of fun, actually, working on that.
Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.
I was really sick of bands just ignoring the audience as a posture in rock music. And I think we fed off each other in terms of trying to engage the audience, not in a hammy way, but actually trying to be aware of the space that you are playing in and trying to connect in some way through the music.
The multiplexes audience has one way of thinking. When they are all sitting together temperamentally, there is room for a filmmaker to reach out to a far larger audience in a comfortable way.
The way Donald Trump talks about the problems of black Americans as a kind of separate group who are not part of his audience but he's kind of reaching over his audience or behind his audience to black Americans, saying what have you got to lose? As in you might as well join me because the Democrats haven't done anything for you. But joining me means joining this group that already supports me.
The most stressful and difficult part of steering a large movie is that you are taking on the responsibility of communicating with a very wide audience. You can't ever hide behind the notion of, 'Okay, they just don't get it,' or, 'Certain people just don't get it.' You have to be mindful of the size of your audience, and you have to communicate in a way that lets them in.
When the audience reacts all together, it's genius. The audience is its own being in a way. It's a weird, amorphous beast that is also somehow a golden emperor that is also somehow every adult you've ever come across in your life who doesn't approve of you - all in one place.
Does having a wife and kids change your act? Yes, but only in the best way. It gives you weight and authority. It also makes you closer to the audience because the audience is married and has kids.
Emotionally, light very much influences, I feel, the audience. It's not something that most audience members are conscious of, which is a good thing, because it means as filmmakers, we have the opportunity to gently control an audience into feeling a certain way.
If I can get the audience to connect with the characters emotionally - and they love who they are, they love the larger-than-life situation that they're in, but most of all get the audience invested in the characters - then I always feel like I can sort of put them in the most outrageous circumstances, and the audience is okay to go with that.
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