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The fact is that Hollywood, from as early as the sixties to the present time, has ghettoized cinema into the big industry, a marketing industry. In doing this, the audiences have lost touch with the aspects of film which were to be informative and educational and even spiritual.
I'm doing 5000 seat theaters and audiences are going nuts, it's fantastic and it makes me very happy. I'm dirty, but not like this; I just do comedy that I find funny. I'm working on a new tv show for cable and it's not set up yet.
I think audiences will always like bad guys who kill for no apparent reason. We just like to hate them.
I began coming to Paris in the 1960s when I was told audiences here liked my work. More than 20 of my plays have been produced in Paris, and several have had long runs and have returned in revivals.
I think that will be a lot of fun for audiences to get the same stream of consciousness that was going through my head at the time. It was very exciting to suddenly recall what I was feeling at the time.
The basic function of a comic is stand-up because it's so straightforward and simple. If the audience don't laugh, you didn't do your job. I've had some audiences where I didn't care if they laughed or not because they were either too drunk or stupid.
I think Japanese audiences are much more attentive than a London audience.
My audience loves seeing me pump large amounts of money into action and sets. And it works. I'm not saying that films made within a budget are wrong. But when audiences come to see my film with their families, I guess they are spending at least 10 per cent of their monthly income. I don't want to cheat them.
I think the resolution involved in the high-def, Blu-ray image demands we pay attention to every detail to a level we've never seen before. The audiences have to believe everything they're seeing. As viewers, we're all so experienced and so much smarter than we realize. With Blu-ray, there will be less tricking of the eye.
We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.
Frank Capra, Hollywood's Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the 'Saturday Evening Post' covers of Norman Rockwell. 'It's A Wonderful Life,' the latest example of Capracorn, shows his art at a hysterical pitch.
Audiences respond in entirely different ways. One thing is unanimous - music binds us altogether.
There was something about being in front of audiences when I was in elementary school plays that gave me a thrill. It was like the rush you get from a roller coaster drop.
Films that score very high with test audiences generally tend to not be so great. But, there's a lot of money involved in making movies, and it's a way for people to reassure themselves, who have spent money, and it's also a way to work out how to market a movie.
On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.
I can play a man who's despicable. But I'll still look inside him to find a point of connection. If I can find that kernel, audiences will relate to me.
I lose tons of stuff on the cutting room floor. For Scary Movie 3, for example, we had a lot of Matrix spoofs, a Hulk scene, and some of that stuff just doesn't hold up - it's too much plot, audiences just didn't want to hear about it.
I would not want to be a part of any project that I feel would not work. An actor like me always wants to work to get appreciation of the audiences. And appreciation can only come if people will come to watch the film.
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 like it when actors get an opportunity to chew into something. They love scenes with beginnings, middles, and ends - scenes that give an arc to their characters and allow audiences to get to know these people.
Audiences always sound like they're glad to see me, and I'm damned glad to see them.
I'm just trying to have fun, and maybe the way I hold myself kind of freaks people out. I don't feel like an outsider, and I think my friends feel the same way I do. Now that we're playing to larger audiences, maybe we're weird to some people. But I'm trying to express what I am.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.
'Hotel Rwanda' is an American product, not a Rwandan one, made primarily for American audiences.
I've built a solid career there, but America's ten times the size. Now that we're onto the third record, I feel like the stars have aligned and American audiences are embracing my music even more.
A. P. J. Abdul Kalam
John F. Kennedy
Leonardo da Vinci
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