Joe Gillis: Audiences don't know somebody sits down and writes a picture; they think the actors make it up as they go along.
When we were trying to get the money for Driving Miss Daisy, everyone kept saying no one could direct it well enough to entertain an audience for 100 minutes essentially watching three people chatting in the kitchen.
I did not want to be a tree, a flower or a wave. In a dancer's body, we as audience must see ourselves, not the imitated behavior of everyday actions, not the phenomenon of nature, not exotic creatures from another planet, but something of the miracl...
People have different relationships with power. I suppose a large portion of the 'Homeland' audience aligns with the U.S., sort of against the enemies. We certainly have the CIA viewpoint on the world - and it's their job.
In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple ...
I shoot people in a way that makes the audience feel equal to them. And it's hard to express and it's hard to execute but I think it works on every level - the choice of the material the choice of the actor, my relationship with the actor, and so on.
I'm a fan of daytime drama; I totally get it. When we are doing scenes that are romantic or will get the audience riled up, I feel like I'm a fan in the room going, 'People are going to be so mad right now!'
As artists, it's tempting to forget the audience's needs. Too often, we're self-centered and self-indulgent in what we share with the world. We're prideful, only showing what we deem as perfect or what we think our peers will respect.
I have done many comedy films. Success of films like 'Partner,' 'Singh is Kinng' gets you to a very wide audience reach. But for greater gains, you need to take greater gambles. If it works, you get respect and recognition.
My belief is that if I can achieve that level of entertainment by making the audience happy or sad or angry, then I have succeeded as an actor and have done my job. The profits and the fame as an actor will eventually surface, but first and foremost ...
When one shows up in jeans and a T-shirt, I strongly feel that the audience reacts in a very different way than when you show up in a sport coat and a tie.
I think if the movie has resonance and stimulates the viewer to talk about it, you can have as large an audience as you want. The most important thing for me is that the movie exists. And that's success enough already.
After I tasted success with erotic thrillers, a time came when I was being offered only films belonging to that genre. The industry loves repeating a success formula, and the audience had formed a certain image of mine in their minds.
It's very easy for me to say what success is. I think success is connecting with an audience who understands you and having a dialogue with them. I think success is continuing to push yourself forward creatively and not sort of becoming a caricature ...
Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success.
Love in capital letters is important. It is impossible to live without love. You must have the feeling of being loved. All artists need love - from the audience, friends and relatives. But true and faithful friends are exceptionally rare.
I love my camera crews on all my jobs. It's the half of the job that the audience never gets to see. They're integral. They're as much a part of making a movie or television show as I am.
You can know that the final show is coming up, and prepare yourself for it mentally, but when it finally occurs, it's like a dream. You stand there feeling the love the audience has for you, and you think, 'Is this really going to end?
Audiences love Paul Taylor, and so do I. Not everything, and not always, but year in, year out, he gives me more concentrated pleasure than I get from any other dance company.
I think, for a love story, the most important element is the music, since you don't have action sequences or item numbers. It really draws in the audience and adds to at least 70 percent of the opening of the movie.
I don't know what else I would do. I love entertaining people, I love communicating, I love an audience. I'm a real artist, right from the bottom of my toes to the top of my head.
