Actors And Audience Quotes Page 2

I think audiences, producers and directors included, develop crushes on actors (actresses in particular) and then lose interest and move on to the next one.

In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.

You have a lot more leeway to be contradictory playing a character than most of the scripts have in them. That's how all actors are. We have so many different sides of ourselves and we're so different, in meeting with different people. The audiences relate more to that and find that more believable.

I've always longed for the theatre and acting to be popular.

No actor wants to play to an empty house. We only do it for an audience. The more the merrier. I don't make any distinction between a popular TV series or blockbuster film and doing Shakespeare. They're different, but as long as the material is good and the intention is honourable, it's all the same to me.

As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.

It's much more fun as an actor, as well.

If everything is on the page and you're spoon-feeding an audience you feel like your job is merely to say the words clearly because the structure of the story will take care of itself.

When you recite you're giving a performance, in the way that an actor or a singer performs, and some poets are not interested in doing that, maybe because they're writing for a readership as opposed to an audience, or because they see poetry as a very private art.

In the theatre, the actor is in total control.

The director wasn't in the house last night, the designer wasn't there, the author's dead. It's just us and the audience.

Acting is bad acting if the actor himself gets emotional in the act of making the audience cry. The object is to make the audience cry, but not cry yourself. The emotion has to be inside the actor, not outside. If you stand there weeping and wailing, all your emotions will go down your shirt and nothing will go out to your audience. Audience control is really about the actor

Stage charm guarantees in advance an actor's hold on the audience, it helps him to carry over to large numbers of people his creative purposes. It enhances his roles and his art. Yet it is of utmost importance that he use this precious gift with prudence, wisdom, and modesty. It is a great shame when he does not realize this and goes on to exploit, to play on his ability to charm.

The audience is the most revered member of the theater.

Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.

We film in front of a live audience, and I was a theater actor before I got into television, so I like that.

Being an actor in movies is a lot about the power of your imagination and making the circumstance real to you so the audience will feel that it's real.

If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. You must reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.

There's nothing like a play. It's so immediate and every performance is different. As an actor, you have the most control over what the audience is seeing.

I pray to be of service to the playwright, the audience, the other actors and my character.

I didn't set out to make this kind of picture.

It just came my way. But its been going on for me for 16 years now and its wonderful for an actor to work consistently. There seems to be an insatiable audience for this type of film.

I'm kind of private and I keep things inside a lot, but it's been so wonderful to realize that people care about you in a very deep way and that there is some bond between an actor and his audience. I don't even know how to describe that feeling.

It takes two years on the stage for an actor or an actress to learn how to speak correctly and to manage his voice properly, and it takes about ten years to master the subtle art of being able to hold one's audience.

I'd just love to have an audience and it's the most fun in the world to get a new script every week and have the audience come in, and work with those actors.

I don't think there has been any increase in sophistication in the audience.

When people are aware of a concept that's easy to understand, and there's an actor who will attract them to the theater and it's a movie that's funny three-quarters of the time, it will be successful.

The long version of the play is actually an easier version to follow.

In all of the cut versions the intense speeches are cut too close together for the audience and the actors.

Sir Derek Jacobi has been an inspiration to so many actors and audiences throughout his brilliant career. To see him in Shakespeare is an event in itself.

I understand that a lot of other actors don't have a choice.

They have to eat so they need to work and they'll do films that they're not so proud of. But I've been fortunate enough to be given a second wind, so I try to pick projects I know will provide the audience the kind of escapism they want from me.

When scoring a film, empathy is the key.

And it is just as important to use music to express the actors' emotions as it is to move the audience.

I love theatre. I think it's the home of most actors...most actors start with it. It's so enjoyable to do and to be able to see your audience. And the process of theatre is great.

Rather than, as an actor, I want the audience to like me, I'm going to smile beautifully and I've got everybody's sympathy - what about showing the moments when somebody is unbelievably petty? Or really selfish? The faults, the little things, those are the things that interested me about playing the character.

It's a tricky one when you're playing somebody who is mad.

There's often the big actor's question, if you're playing a part like that: do you take it to be an internalized thing, pull the audience in, or do you go full-out, and kind of present it as quite a shocking thing?

In a way, the songs are written to be performed.

I put them on records, but I'm always thinking about how an audience would react to it. I realized at age 7 that I wanted to be a performer, and I used to do that, and occasionally I'll get an acting job. I don't really make much of a living as an actor, but it's fun to do it when I get a job.

In any kind of comic scene you're going to perhaps push the boundaries of plausibility but as long as there is some semblance of logic I think as an audience you'll buy it and as an actor, when it comes to playing things like that, it gives you something to delve into. When I don't buy into a comic scene is the type of scenario where you'd just go: "Well, that would never happen."

I got on stage and I went, "Oh wow. No stage fright." I couldn't do public speaking, and I couldn't play the piano in front of people, but I could act. I found that being on stage, I felt, "This is home." I felt an immediate right thing, and the exchange between the audience and the actors on stage was so fulfilling. I just went, "That is the conversation I want to have."

Maybe the actors that used to turn down William Goldman's scripts - where he wanted them to stretch and grow, and he was mad at 'em, and said, "Why won't they be a real actor?" - maybe they just knew their audience. It's too bad.

Sometimes it can get overburdened with nuance - the actors find all sorts of different spins on the lines that can lose simplicity and directness. They all become fond of their extra stresses and the audience are going, "Just give me the line simply, what did you mean?" You have to ward against that.

I actually think film and TV are sort of the same thing now.

To me they're all motion pictures. There's a camera, a script, other actors and a director. Doing a sitcom is a little different. It's kind of a hybrid, half movie, half play, presented in a proscenium fashion - the camera's on one side of the line, the set on the other, the audience sitting behind the cameras.

I think most actors probably enjoy playing the bad guy.

I think it's the fact that most of the time, heroes aren't written with enough interesting qualities or flaws, and that leads to the bad guys being almost the runaway train, as far as being more interesting for the audience to watch.