A Quote by Samuel Barnett
Acting is a sport - especially working with Mark Rylance. There is competition involved. I have to be muscular, challenging, get audiences on side. It's extraordinary how Globe audiences join in - it's like competing at an event - I love it.
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I learnt so much wit, really, from the Globe audiences. If you can make a circle, even in a proscenium theater, if you can get a circular energy going, so that all these people are involved with it and present, then there is something curious that happens with the imagination.
It is at programmes organised on the sidelines of temple festivals that you get to see raw audiences who will let you know immediately whether the act has clicked or not. It was those audiences who taught me how to strike a rapport with the audience.
I love the chameleon nature of this business [acting]. I always have. Sometimes I'm not as recognizable as somebody else and I may not have gotten a role, but for me, acting is not a competition. I've just kept my head down and kept working, and had the great pleasure of working with some amazing people and playing some extraordinary and extreme characters.
TV can reach broad audiences, mass audiences, niche audiences; it can be local, regional, national; it can be spots, sponsorship, interactive. It can be anything you want it to be. I tend to think of TV as the Swiss Army knife of media, it's got something for everybody.
I love interaction with audiences. If were my choice, I would spend most of my time interacting with audiences. Walking around and asking them to challenge me.
Putting out a book is absolutely a lesson in vulnerability because it doesn't matter how much of an audience you have. Some people who have giant audiences can't sell books because those audiences don't feel like they need to give them their money.
If you're in a successful play and the play is working well - I mean successful because the audiences like it, the audiences respond well - it's a pleasure.
At drama school, I got a job choreographing and teaching the fights for Mark Rylance doing 'Hamlet' at the Globe in London when I was only 19. They made me fight captain.
I was raised with the idea that the arts were a doss - but the arts are vital. If you see Mark Rylance perform Shakespeare at the Globe, you know it's a spiritual act.
Learning how to communicate to big audiences, and how to frame a message in a way that works in a sound-bite world, that for me is very challenging.
I think competition can make people stronger at whatever it is they're competing on. If we're competing in some athletic event for competitive swimmers, really intensely competing, it's likely that both of us will become better, but it's also quite possible we'll lose sight of what's truly valuable.
I really believe at the end of the day, regardless of how noble you are or how patriotic the film might be, it has to serve as entertainment in order for your audiences to come into the theatre and watch it. Otherwise, audiences will wait and see it a few months later when it is premiered on television.
I've enjoyed appearing in Atlantic City. East Coast audiences are a bit brighter than Las Vegas audiences. I think most entertainers will tell you the same thing. The East Coast audiences are more perceptive - especially when it comes to a performer with a theatrical background.
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.
You learn quite a bit about your film from test screening audiences. With both comedies and movies that are intense, you need to calibrate the film and see how audiences react.
I personally love working for finite series as it's important to convey that stories need not be stretched; they can get over in a year and still be loved by audiences.
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