A Quote by Stellan Skarsgard
A film doesn't exist until it meets its audience.
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In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.
Look at the genres women like: a romantic comedy game doesn't exist. Few examples of a documentary game exist. What is the equivalent of a real drama game? They don't exist. Emotion with that complexity for a more mature, older audience are necessary to make medium-like video games healthy so it can be highly respected like the film industry.
When Steampunk meets adventure and adventure meets comedy and comedy meets ingenuity and ingenuity meets charm and charm meets wonder and wonder meets pleasure the result is a Triumph. Dr Grordbort is the future. And the past. Which makes an ideal present.
My job as a character actor is to make me fit the character, to serve the character. To present this human being who turns up in a piece of film or entertainment that's going, you know, exist as if it might exist after the film is finished and it existed before the film has started.
It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.
The Weeknd's 'Can't Feel My Face' is very experimental. It's pop meets urban meets indie meets alternative.
You have to keep proving yourself - every film - until the audience believes you can do anything.
Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.
The audience too should be respected by being presented with a film as they remember it, and for those who have not seen it, as it was intended to be seen. Anything less is a degradation of the film and its audience.
Getting the audience to cry for the Terminator at the end of T2, for me that was the whole purpose of making that film. If you can get the audience to feel emotion for a character that in the previous film you despised utterly and were terrified by, then that's a cinematic arc.
In 'Friday Night Lights,' the relationship between the coach and his wife, that marriage was something that you couldn't really understand until you actually saw it exist on film.
I founded a club, which is called the Brutally Early Club. It's basically a breakfast salon for the 21st century where art meets science meets architecture meets literature.
We all like to congregate at boundary conditions. Where land meets water. Where earth meets air. Where bodies meet mind. Where space meets time. We like to be on one side, and look at the other.
The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.
I've never watched my films with an everyday audience so it was really crazy to watch people clap at the end of my film - with no one there, no actors, no people from the film. It was just a spontaneous reaction, so I thought that was probably the best compliment you could get from an audience.
As a filmmaker, I believe in trying to make movies that invite the audience to be part of the film; in other words, there are some films where I'm just a spectator and am simply observing from the front seat. What I try to do is draw the audience into the film and have them participate in what's happening onscreen.
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