I like being a big fish in a small pond. I'm not interested in a huge audience because it brings headaches.
The rise of digital technology put marketers in a bind. No longer a captive audience, consumers were splitting their time across devices, social networks and websites.
When I get a script, it's the only time that I get to be an audience member with the first-time experience of that movie. That's the first and only time.
I still that that movie-goers like the experience of leaving their homes and going to have a communal experience, especially in comedies or interactive things where you can get an audience reaction to.
When you work so hard on making a film, it's all worthwhile when you get to experience seeing that film with an audience who thoroughly enjoy it and react to the movie.
In the Netherlands I read the first chapter of Exquisite Corpse to an audience that laughed in all the places I thought were funny - an experience I've never had in America!
I have a lot of experience in the studio, performing onstage, talking to an audience. I learned most of that stuff when I was performing with my mom.
Tracking action without cutting is the least jarring method of placing the audience into a real-time experience where they are the ones making the subtle choices of where and when to look.
My experience tells me that any time you hear people laughing on a sitcom, it's the writers who happen to be closest to the microphones - not the audience.
Cinema is visually powerful, it is a complete experience, reaches a different audience. It's something I really like. I like movies.
The wonderful thing about Food for Thought is that it lets you keep your hand in theater and be in front of a live audience without a commitment of six months, or even three months.
If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play.
Audiences have become so much more sophisticated, and they're looking for different eyes and different ways to tell a story. And 'Scandal' certainly gives us the freedom to take those chances.
To be joining 'The Hunger Games' family is such a thrill. It deserves the hype because it's well written, handles really big subject matter, but doesn't talk down to its audience. And then there's the romance element.
Every actor's deepest desire is to reach a huge audience. So, I don't look down upon commercial cinema... there's a beauty in it that you understand sooner or later.
I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.
Nobody has yet proven that taking a chance and doing something unique that an audience isn't used to is a bad idea. What the theater lacks is that kind of courage.
It's truly gratifying to see my films reach beyond a familiar public, to get a chance to move new audiences. It's nuts. It's extraordinary.
I think the audience know which films are aimed at their pocket, and which films are aimed at their soul. There are a lot of films out there made by people who are genuinely trying to make a change.
But, what did happen is I went to Woodstock as a member of the audience. I did not show up there with a road manager and a couple of guitars. I showed up with a change of clothes and a toothbrush.
The more you can create a structure by which people live in a fantastical situation and by which they will act, and the more you lay that out for the audience, the more they will feel at home in it.
