A good score should have a point of view all of its own. It should transcend all that has gone before, stand on its own two feet and still serve the movie. A great soundtrack is all about communicating with the audience, but we all try to bring something extra to the movie that is not entirely evident on screen.— Hans Zimmer
Whopping Good Audience quotations
I never could tell a joke. I just started talking to the audience, and when the drunks would yell, "Hey, when do the broads come on?" I got good at saying, "Relax. Clear your skin up first." They called me "the insult guy," but it's never mean-spirited. I'm just exaggerating everything about us and about life.
You can't serve the public good without the truth as a bottom line.
A good teacher, like a good entertainer first must hold his audience's attention, then he can teach his lesson.
The feeling you get from playing to a good audience is hard to describe without sounding as though you are talking silly. But reaction is important. You might feel in yourself that you're doing it ok but it's when you get the live reaction that you know you're doing it right.
That's probably when I get the most angry at American movies, when they just so cynically manipulate the audience without even trying to give a good story.
You would give up your career if you lost your voice for good, or if the impresarios stopped calling, or the audiences stopped coming. But as long as those things are there, I don't plan to stop. There is nothing that makes me feel better than to be with my public.
I think that's what makes a good rapper.
Somebody who wants to push themselves and their audience further.
If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.
Bad reviews I've gotten never diminished the number of people in my audience;
good reviews have never added to the number of people in my audience; be your own critic.
Long experience has taught me that the crux of my fortunes is whether I can radiate good will toward my audience. There is only one way to do it and that is to feel it. You can fool the eyes and minds of the audience, but you cannot fool their hearts.
I am a cynical optimist. Big opening weekends are like cotton candy. The films you will remember over time are the films that stick in the consciousness of the audience in a good way.
If the audience gets everything, if they see the photography and notice that it is good, then the story goes out the window, but if you become involved with the lives of the actors and forget that you are seeing mechanical devices on a huge screen - forget the make-believe - this is the job of the director to involve the audience with the actors.
This is the way I look at sex scenes: I have basically been doing them for a living for years. Trying to seduce an audience is the basis of rock 'n roll, and if I may say so, I'm pretty good at it.
Audiences are harder to please if you're just giving them effects, but they're easy to please if it's a good story.
If you check your ego at the door when it comes to comedy, you've got a pretty good shot at making a great movie that you can commit yourself to, you can jump off the proverbial cliff with, and have a great time, and the audiences respond to that.
Any good director creates a playground.
That's what they do. They hire the right actor, open the door and let them play because stuff will happen, right then and there. The audience wants to believe that what's going on is happening for the first time, ever. That's what acting is. That's what good scene writing is.
By nature, an auction is kind of a wholesale beast anyway.
You're buying second hand goods, even with the historical, antique or aesthetic value. You look to get the wholesale price and you hope for retail spikes periodically when you get two or three people in the audience that want the same thing.
There's nothing better than being in a film that translates to audiences and makes people think and feel good and walk away with great revelations in their own life of some kind. But when the process and the experience and the fun of that matches, it's a good feeling.
As an audience member, those studio films are fun.
I like an adventure tale, and I also like to go see something that has more of a social pulse. I like to keep learning and trying new things. And if the scripts are good, it doesn't really matter.
Apart from being interested in a good role, I think it's necessary to make up your mind as to whether it will make a movie that will entertain an audience all over the world and not just in your own backyard.
To be quite honest, numbers don't tell you everything because audience reactions differ. Some of the biggest films at the box office are not necessarily films that everyone has loved, they just opened to a good response.
Without love it is like having a good song without an audience.
I only share when I have no unmet needs that I'm trying to fill.
I firmly believe that being vulnerable with a larger audience is only a good idea if the healing is tied to the sharing, not to the expectations I might have for the response I get.
A good or great performance is like peeling an onion;
in every scene you reveal another layer, something the audience hasn't seen until then. They stay involved because they are constantly learning about and discovering the character they are watching. They can't take you for granted and it keeps them hooked.
So far as good writing goes, the use of the exclamation mark is a sign of failure. It is the literary equivalent of a man holding up a card reading LAUGHTER to a studio audience.
Maybe I'm not as big a star as Bruce Springsteen because I'm not as good.
I don't know. It doesn't matter. I still have an audience of a certain size. I think it's one of the things I'm luckiest.
I like to have a peek, see what the audience is doing during the opening act, because it gives you a clue and gives you a good feeling of where you are - the air can be different in different places.
If I didn't get joy from acting, I wouldn't do it.
My passion for acting is growing and I love telling good stories and inspiring stories and helping to give a little happiness to the world and perhaps get the audience to think about different issues.
Without courage, honor, compassion, pity, love and sacrifice, as William Faulkner pointed out, we know not of love, but lust. We debase our audience. But we can ennoble and enrich our viewers and ourselves in our journey through this good time, this precious time, this great and wonderful experience we call life.
Sometimes earning awards doesn't matter as much as earning revenue or profit, or having a good response from the audience. No matter how many awards you win, if you can't earn any profit from your movie, if the audience doesn't like it, then it doesn't matter how many awards you get.
When a good writer is having fun, the audience is almost always having fun too.
It's a Samurai story [47 ronin], so if we change too much Japanese audiences will have strong against feelings to the film. It's not good.
Each time a mediocre singer performs, he is saying, in effect, "This is good enough for you." The audience, thrust into that familiar American mood of knowing something is wrong but not knowing what it is, unconsciously absorbs the insult and projects it back onto the mediocre performer in the form of inattention, rudeness and noise.
I had to learn that a good actor, like an iceberg, reveals only a small part of his ability on the surface. You suggest; you don't serve on a platter. You hold back. You don't expose it all to view. That's the way to put the audience's imagination to work.