A Quote by Sid Sriram

I want the audience to be transported to a different world once they enter the auditorium. — © Sid Sriram
I want the audience to be transported to a different world once they enter the auditorium.
The computer is designed to mimic reality. And in an animated world, in my perspective, that's the worst thing to do. I want people to walk into a movie theater and be transported to a different world.
You're creating a different world and the actor's job is to be able to convince the audience to enter into that world, whether it be actually something that you recognize from your own life or not.
The beauty of a movie is that you walk in, you don't know anything about it, you enter a world that's new to you, and that's the magic of being transported.
And I guess I'm a kid at heart in that when I go for entertainment, I want to be totally transported. I want to go somewhere else; I want to encounter different things, different beings, different universes. And so I love that aspect of being able to play those things in both 'True Blood' and in 'American Horror Story.'
I never met Barry Crump, but I was in an audience once for a play once. There was a drunken man at the back of the auditorium that was shouting during a performance of a one man play, and it turned out later on that was Barry Crump and he was in a state of inebriation.
I've always tried to make movies that pull the audience out of their seats... I want audiences to be transported.
There is something so different in Venice from any other place in the world, that you leave at once all accustomed habits and everyday sights to enter an enchanted garden.
I'm not somebody who no matter where I go there are paparazzi or any of that nonsense. But I have a little window into that world and I can enter it and dance around. I want to be the audience's ticket into the party.
I want to create a world where all the rules are different. It should be magical to enter.
Once I had a daughter and I had a wife I knew I was going to enter a completely different world that I'd never known before.
I want the flashbacks to feel that once you're there they have their own unity, their own kind of atmospheric sensibility; I want the reader to be transported. The novel is a big, complicated, unknowable thing before it's written.
When people enter any form of competition they need to be able to connect with the audience at home; that's what makes them different.
Every audition is different, but I get incredibly nervous and insecure and worked up for however long I have to prep - that's when I get to spin. But you're not allowed to spin once you enter the room. Doubt really can't enter the room when you're auditioning - unless it's part of the character.
Whenever I write for television, I plan the story on whiteboard wallpaper in my office, using a system created by the American writer Dan Harmon. It's remarkably simple: a character wants something; they enter a new world and adapt to it; they get what they want, re-enter the old world and change.
As an actor, you should always keep your trump card hidden from your audience. I want the audience to keep expecting more and more from me. I want to do 'different' work - good and memorable roles - so that audience appreciate me more. That's why I love to surprise my audience with something they never expect me to do.
It's a whole different world once you get into games. You have people actually trying to hit you, the speed of the game's a lot faster, you have a lot of different things you need to check and see. It's a whole different world up there once game time comes.
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