We give you this story. It is for the audience to be moved and gut wrenched, not us. It isn't as if we don't go through those real feeling and it isn't as if I don't cry three or four times a night. I usually do.
I've never seen a schedule where you just go in two hours almost every day of the week and then all day on one day. Then you shoot it at night with an audience and you're out of there.
And I tell my audience, you know, give the real stars a round of applause. Because without them I'm nobody. So I learned so much from people like that.
I have no control over the audience. I have no idea what they think. My heart's pure. I can't do anything. I really can't do anything. I don't know what goes on in the crowd.
I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.
I don't want to make 'Chandni Bar 2.' I didn't think 'Fashion 2' will happen. If a film ends on a high note... makes the audience think and lingers in the end... that is needed.
It's a gamble. A band like Kiss, a lot of those are our audience but we don't do as much make-up. Alice would have more to lose if we got back together.
Insight into character comes from listening intently to the spoken word. The physical person, their charisma, charm and dramatic flair is more often used to persuade audiences, as they use these stealth tools of disguise and deception.
A lot of cop shows, because they have the restraints of having a new case every episode, the victims often become these kind of nameless, faceless plot points, and as an audience we don't feel anything for those people.
Television executives only commission something that somebody else has already commissioned that's doing well on another station - they're afraid of expecting an audience to concentrate for longer than three minutes on any particular item.
Yes, I mean, There's nothing like it. There is an added sense of pressure because of that, but there's also nothing like the thrill you get being in the same space with that audience right there and then. And when you do it, it's over.
I give the spectator the possibility of participating. The audience completes the film by thinking about it; those who watch must not be just consumers ingesting spoon-fed images.
I look at it somewhat as a way - when you learn juggling, what you learn is how to feel with your eyes and see with your hands because you're not looking at your hands, you're looking at where the balls are, or you're looking at the audience.
I think that talking about the personal specificity, personal details, is how you get the big, big audiences - by talking about your relationships or your personal tragedies. If you reach out with that energy, you'll touch people.
If I'm excited about it, I'm pretty sure an audience is going to enjoy it. If I'm bored with an idea, you can bet they're going to be asleep. So I try to only do things that I'm fairly excited about.
At some of the venues, the audience was so loud we could hardly hear what was happening on stage, which kind of threw us back to 1983, when we had very similar reactions on a much bigger scale.
You look back on films sometimes and if they have not been as all-out successful as you anticipated you try to find reasons why maybe it didn't come off for audiences as well as you would have liked.
When you play arenas you can create whatever you want. At a theater the height of the stage and the limitations of the theater can make you feel more separate from the audience.
Once you get into your stride, the camera becomes like another person in the room. It's like being in a very small theatre where there is no getting away with anything because the audience is centimetres away from you.
Audiences are so much more sophisticated than they've ever been. They expect a lot more. I don't think because it's an hour of your Thursday night rather than an hour and a half of your weekend that you should be gypped at all in quality.
Happy Days, which we did for 11 years, we did with three cameras in front of a live audience. Very special. We had a party every Friday night. The boys, Ron, Henry, they grew up on that show.
