A Quote by Simon Pegg

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 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.
Once Steve Fuller said that there is this idea that your responsibility as an intellectual is just to speak the truth as you see it. But actually, you should be more appreciative of what needs to be said. I don't think that's ever an excuse to say something you don't believe is true - but sometimes the emphasis has to be different. Well, if I'm talking to an audience of hardline atheists, I'll be trying to unsettle them a bit more, whereas, if I'm speaking to an audience of believers, I'll be giving them more of the pros of atheism. It's about having a sensitivity to context.
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.
You never know what an audience is going to think about something. The ones that the audience doesn't get, I tend to let them go. I don't like to dwell on them too much.
With television, attention spans have been shortened. It's something we have to fight against: the dumbing down of the audience. To be part of an audience is a privilege. To be with the people on stage, to let them reach you. If you're doing a million other things, they won't reach you.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.
With a feature film you're dealing with so much more money and you've got to be very aware of the fact that you're really working with an audience. You've got to have a relationship with the audience. Play with them and show them things you want them to see.
. . . I felt that making her one-dimensional would be an insult to the audience, and also not as interesting. All destructive people have an inner side to them, and the more three-dimentional your characters are on screen the more compassion you can open up in an audience . . .. To me, that involves the audience more, it stimulates them and asks more of them.
Sometimes I know a film might not pull the audience to the theatres and have a great collection at the box office. But I need to do these films for creative satisfaction and give something different to the audience.
I've made so many changes to my records because of the way the audience has reacted at the various festivals I've played - I've taken tracks back into the studio, stripped them bare, and built them back up again to create something entirely different.
I never think of my work as writing for a young audience, frankly, because I think it risks talking 'down' to them. The idea is for these books to work just as well as for adults as kids. As for what readers will take away, I just want them to love being in the world and see it as a safe place to explore things that adults are often uncomfortable talking to them about.
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.
I'm open to any project, but my joyful projects are those through which I can say something and through which I can speak to the an audience of people in the world, and I can be that vehicle through which something can be said, I find that entirely thrilling and joyful.
Growing up, all I saw was my parents trying to be the best people they could be, and people coming to them for wisdom, coming to them for guidance, and them not putting themselves on a pedestal, but literally being face-to-face with these people and saying, "I'm no better than you, but the fact that you're coming to me to reach some sort of enlightenment or to shine a light on something, that makes me feel love and gratitude for you." They always give back what people give to them. And sometimes they keep giving and giving and giving.
I think you have to do the stories that interest you and hope an audience likes it, rather than doing stories that you think the audience will like, whether you like them or not. I think there has to be something that you find compelling and interesting, and then hopefully an audience will agree with you.
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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