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I think 'Scarface' is a great film, but if you have a character like Tony Montana, you don't identify with him at all. I think it's very interesting instead to identify yourself with a character you don't like all the time. You can create a tension between the fiction and the viewer. You force the spectator to wonder about his actions.
It is the spectator, and not life, that art really mirrors.
All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex and vital.
In Paris, everybody wants to be an actor; nobody is content to be a spectator.
The only time you actually are a spectator of your own work is the day you read the script.
I see a lot of movies. I love films as a spectator, and that's never obscured by the part of me that does the work myself. I just love going to the movies.
Good spectator sports share certain fundamentals. Their competitors battle head-to-head. Their winners are determined objectively: fastest runner, most points. They are refereed, not judged.
I'm exchanging molecules every 30 days with the natural world and in a spiritual sense I know I am a part of it and take my photographs from that emotional feeling within me, rather than from an emotional distance as a spectator.
I think words come between the spectator and the picture.
I love my homeland, but it's an absurd country. Politics in the Philippines is like spectator sports!
If a spectator with a philosophical mind, somebody accustomed to reading books, gets the same kind of information in a movie, he might not fully understand it.
Mainstream cinema raises questions only to immediately provide an answer to them, so they can send the spectator home reassured. If we actually had those answers, then society would appear very different from what it is.
There are really two types of laughter on the part of the spectator. There is the laughter of recognition - which means seeing things you're familiar with and laughing at yourself. But there's also hysterical laughter - a way of dealing with the things we see that upset us.
We have been deformed by educational and religious institutions that treat us as members of an audience instead of actors in a drama, so we become adults who treat democracy as a spectator sport.
I'm doing a book, 'Chasing Science,' about the pleasures of science as a spectator sport.
There's something that happens in that delivery room, when a woman becomes ten times more a woman, and a guy becomes six times less a man. You feel really dopey and useless and like a spectator. I did, anyway.
In my earlier paintings, I wanted the space between the picture plane and the spectator to be active.
If you were to ask any children of any politician, when you've been part of a political life, you are not on the sidelines. There is no such thing as a member of a political family who is only a spectator. You see the wheeling and the dealing. That doesn't intimidate me. I'll do a little of that myself, on behalf of my constituents.
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.
You can get a certain amount of pleasure as a mathematical spectator, reading and watching some of the most beautiful arguments that have been created in the history of humanity. But that's too passive.
As a filmmaker, I believe in trying to make movies that invite the audience to be part of the film; in other words, there are some films where I'm just a spectator and am simply observing from the front seat. What I try to do is draw the audience into the film and have them participate in what's happening onscreen.
In high school, I didn't always relate to my friends. I was more of a spectator.
I was raised on John D. MacDonald's Travis McGee series. Something about this genre - hard-boiled-private-eye-with-heart-of-gold - never failed to take me away from whatever difficulties haunted my daily world to a wonderful land where I was no more than an enthralled spectator.
In one respect, it's easier to open a restaurant in New York because you get more media attention than anywhere else. Almost everyone will try a new place once, irrespective of the reviews, because it's a spectator sport.
It's a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.
Martin Luther King, Jr.
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