A Quote by Robert Lopez
If you're doing a musical, you should be out to give the audience something special, emotional, an uplifting feeling, something that stays with them.
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If you're doing a musical, you should be out to give the audience something special, emotional, an uplifting feeling, something that stays with them. And you're not going to do that by bumming them out.
Audiences - they like colour, you know. I can go out there wearing a red suit, man, and they'll say I'm out of sight ... I think they should be educated; you should always drop something on an audience ... When you get in front of an audience, you should try to give 'em something. After all, they're there looking at you like this. You can't go out and give 'em nothing.
I really just wanted to make something special for women. There aren't enough records uplifting them out there.
And you realise you're doing a public service in making people happy - as a musician you can give people something a doctor, a lawyer, a politician cannot give them that. It's not scientific. It's spiritual - a good feeling. And although you don't know them personally, the audience are like your friends.
In myths and movies, the mentor can play a few roles: they bring the hero a magical gift, teach them how to use a special tool, or help the hero get unstuck. In a presentation setting, the presenter is the mentor. Our role as a presenter is similar to a mentor. We should be brining something of important value to our audience, they should not leave empty handed. There should be something useful and somewhat life-altering that we give them. It's not very often that we sit through a presentation and feel like we've sat at the feet of a mentor, but we should.
He misses the feeling of creating something out of something. That’s right — something out of something. Because something out of nothing is when you make something up out of thin air, in which case it has no value. Anybody can do that. But something out of something means it was really there the whole time, inside you, and you discover it as part of something new, that’s never happened before.
Sometimes when you're in the midst of something you don't always appreciate it while you're doing it. Gargoyles was an exception to that. At the time, I knew we were doing something kind of special. Something that might not be repeatable. It turned out to be, professionally.
I can go out raw with nothing, and my fans would still be happy, but I feel that I owe it to them to give them almost like a Broadway musical at this point in my life. I have to give them something more, so I do have to think of different ways to do it.
Both me and Edgar are firm believers in never underestimating or talking down to an audience, and giving an audience something to do, to give them something which is entirely up to them to enter into the film and find these hidden things and whatever.
I tried to instill a different motivation, to give them the security and the conviction that they were doing something good, something necessary, something useful - if you want to use a grandiose expression, that they were doing something for peace.
I can see that I give my audience something. I can see it in their eyes, and they say 'Thank you' a lot. You realize you are doing something that means something to people.
When 9/11 happened, I was like, 'I gotta do something.' I went and talked to the recruiters, and I found out about the Special Forces 18X program. They take qualified people off the street, and they give them a shot at Special Forces. I was like, 'So I could go try out for Special Forces?'
Most people think that to meditate, I should feel a particular special something, and if I don't, then I must be doing something wrong.
I am successful if I manage to make a film that I want and if it works emotionally for the audience and if it stays with them after the screening and means something for them. Awards or money have symbolic power.
I try to study the background of the country I am in and what were my hits there, so I can at least give them some of what they want. It's like a wedding - give them something old, something new, something borrowed and definitely something blue!
I do not choose my listeners. What I mean is, I never write for my listeners. I think about my audience, but I am not writing for them. I have something to tell them, but the audience must also put a certain effort into it. But I never wrote for an audience and never will write for one, because you have to give the listener something and he has to make an effort in order to understand certain things.
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