I look forward to having the time and the opportunity to take on new challenges, but I'm also aware that I've loved every minute of the 'Potter 'experience: to make films for an enthusiastic audience and work with great material.
You have to think about why you're asking an audience to come to the theater. It's not that they should come because it's good for them, because it's the vegetables that they should eat and the culture shot that they should get... It's about experien...
There are always new things to experience, internalize then write about. This process is ongoing with me. It never stops. The opportunity to reach new audiences with all of the music that we have made is thrilling.
In other words, I think that if an audience listens to something as an experience of how in tune it is or something of that kind, that the whole point is somehow being missed, and the music has failed.
I really was very impressed with DMX during the whole experience on 'Romeo Must Die.' I like working with him. I liked him. And I was very impressed with the reaction of the audience when he was in the picture.
I just want my audiences to be entertained and feel like they're part of the show. I want to show them a good time and create an experience they're going to enjoy.
I think there's an essential problem in movies and TV that I think a lot of people experience now: Audiences are way more interested in the actors than the characters that they're playing. It's a strange thing.
Hill Street Blues might have been the first television show that had a memory. One episode after another was part of a cumulative experience shared by the audience.
I really prefer the actual experience of being onstage and living the character from beginning to end with the energy of the audience. There's nothing that beats that feeling, and yet I really have trouble with the eight shows a week.
What I always loved about theater is that that's an experience that a company of actors just sinks itself into for weeks, and you really get to work on the material, and by the time you're in front of an audience, you really own it.
People are so nice, you know. It's such a credit to Howard Stern - the audience base that he created is such a special thing. It took him a long time to create this family of fans, and I was lucky to be a part of that for a while.
I think there are two ways to depict a family. One is what it's really like, and one is what the audience would like it to be. Between you and me, I think the second one is what I would prefer.
Indeed, most magicians catch the bug as kids. My first audience was my family in Long Island. My first 'assistant' was my mother, whom I levitated on a broom in our living room.
'Marley and Me' was a book I was proud of and believed in, but I thought it would just have a modest audience because it is such a personal story about my marriage and my family.
I don't understand that, because I think that what people like most about the show is that they recognize themselves in the characters and their problems, so the more believable the family is, the more we can draw the audience in.
My family is my biggest critic. Since they come from a non-filmi background, they give me an audience's point of view. They have been very supportive of me.
When I was doing 'All in the Family,' half the time, I was looking at where the cameras were, where were the other actors in the scene, what the audience was doing.
You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.
This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.
Theatre is more exciting in the sense that you can actually see the audience in the eye. You know there are no takes and retakes. You have one chance to do your job... and you better do it well!
We have to go and show these people what classical music is. We say sometimes that classical music has a small audience, but it's because people don't have the chance to be closer to it.
