When I was developing St. Lucia - around 2008, 2009, at the peak of Pitchfork culture - what was considered cool was being as alienating to your audience as possible.
I respect the audience's intelligence a lot, and that's why I don't try to go for the lowest common denominator.
I had no fear 'cause it seemed everyone in the audience always applauded whatever I did. Course, maybe it was because I always seemed to know everyone in the audience.
Holding auditions in front of an audience is testing.
I would say the biggest risk I always take is going in front of a live audience. There's nothing more risky to do. You have to really leave yourself open to your own authenticity, and you find that out pretty quick.
I'm not big with an audience; I get very nervous.
All I know is that as an audience member, I am less and less inclined to go to the theater.
We love bringing verisimilitude to audiences, hopefully having experiences you'll never have.
To me, humor is part of a conversation with an audience.
One of the things that I love about painting is that I never consider myself to have an audience.
My audience is going to die before I do.
The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.
I became known for surprising audiences. Except now, if I surprise them every time, they expect that.
I've always been such a fan of short films - in fact, I never considered that I would actually make a feature. I just thought I wanted to make shorts for the rest of my life. They are a lot harder to have shown and a lot harder to find and see as an audience, but I don't know. It's just a form that I really love. I was just making them for the process, but ultimately, I did get them into festivals, and they did end up on television, and they had as much of a life as short films can.
I do like the immediacy of audience's reaction. I like when I can hear the stillness and I know that they're with us.
I've never been very comfortable as an actor looking out into the audience; I always like to keep my focus on the other person. When you start playing out to the audience, it takes me out of it, because people don't do that when you're in life behaving with another person - you don't often look out, around you, in a presentational manner.
If a studio sees that a female can bring in audiences, then they're going to make movies with that person.
I actually think I have an audience member's sensibility about going to the movies.
I've always made sequels, even when I was making Super 8 movies if the audience liked it.
When you tour, you regain the music and the connection with the audience.
I think Alma Reville was the only one Alfred Hitchcock trusted. When it came to issues of taste or what the audience wanted, down to editing, script and casting, he would turn to her first. She was his partner.
My objective is to satisfy [my] audience so they come back the next day.
Relationship movies are often made for a female audience.
I've never wanted to do something where I'd berate the audience.
An artist who doesn't have any audience is not an artist.
