I'm not out to max my income. I think my viewers would call me on that right away if I did.
I don't believe in using too much graphic violence, although I've done it. It's better to be suggestive and to allow the viewer to fill in the blanks in their minds.
A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.
What I will learn over the years will be of benefit and interest to me personally but, as far as the program is concerned, I'm the mouthpiece of the viewers as well.
Thru the auspices of the viewers who become - I think this is an import - in a democracy, become a working unit with law enforcement against the criminals.
I think I would struggle with any job if it was purely about effects. Even as a viewer, those aren't the kind of things that interest me.
What I learned, a little too late, was that the 'traditional' Martin Short target viewer weighs under 300 pounds. Unfortunately, I was on during daytime.
It's an entire industry focusing on young male viewers that want action and violence. They sell us something that isn't valid. They're selling films like a product.
You set up a story and it turns inside out and that is, for me, the most exciting sort of story to write. The viewer thinks it's going to be about something and it does the opposite.
Today, especially, when there are so many stations for viewers to choose from, if they want news, they always come to CNN and that's where I wanted to be.
Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me.
Sound creates an intimate effect: the sensation to feel the place. It makes the viewer enter. You have the liberty to hear what you want.
Films that are entertainments give simple answers but I think that's ultimately more cynical, as it denies the viewer room to think. If there are more answers at the end, then surely it is a richer experience.
I want the pictures to be working in both directions. I accept that they speak about me, and yet at the same time, I want and expect them to function in terms of the viewer and their experience.
For the broadcast business to be successful, viewers need to be not merely interested in our political melodramas, they have to be in an absolute state about them - emotionally invested in the outcome and frightened not to watch what happens next.
My mom was truly an iconic figure, a great journalist and a pioneering woman who died at 54 of cancer without ever having revealed to viewers that she was ill.
I often concentrate on the eyes and lips, they are great indicators of mood and feeling, and I find that I can project character into my portraits by bringing the viewer's attention to these areas.
Particularly with live TV, I have a really good time reacting in the moment to things that are going on around me. I try to think of the viewers' perspective too.
Think of it: television producers joining with newspapers to tell stories. It's journalism of the future. Advertising will follow the crowd - the 'crowd' being viewers and readers, of course, which could bring revenue back into journalism.
In the future, I think movies are going to be more of data sets that viewers have a hand in controlling - where the narrative originates and what happens to the content.
There's nothing worse than putting two similar shows back-to-back. Viewers don't want to watch one show and then sit through another half-hour of almost the same thing.
