It is easy to force a reader or viewer to interact. The trick is in making them want to interact, and in letting the story unfold hand-in-hand with that.
The true art is being able to take whatever the writer’s done, and if it is a bit flimsy or it is a bit rushed or is just box-ticking writing, then the true artist would be able to make that come off the page and sing for an audience or a viewer. I’m still learning how to do that properly.
My theme song is always: ‘Pay attention to your viewer. Follow them.’
I have a very high tolerance for gore and blood. I am, like, the perfect horror movie viewer because I do not get scared very easily. I can really stomach anything so, as a result, I have watched a lot of really disgusting stuff that I should probably never have seen.
A good reader or viewer is a person who is alert about her newspaper or news channel. A good reader or viewer will never waste her hard-earned money in watching or reading just anything. She is serious. She will have to think if the news she is consuming is journalism or sycophancy.
Every film is faced with the enemy of time. Only so much story can fit into the 90-150 minutes of time that moviegoers are willing to stay in their seats. Naturally, compression is necessary. So are the exclusion and amalgamation of characters so that the viewer does not become bewildered.
I always feel that a viewer has an expectation about every moment of the film and where it’s going, so if I act against that, I’ve created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.
Sometimes when I hear commentating, it’s sickening. People who never played the game, people who never played in the league have an opinion, and that’s all it is. You are here to educate the watcher or the viewer. Sometimes it comes off as personal.
You can’t create a movie as you think about it. And what’s in the scene is not what’s being seen. A shot always means something other than what it is. All are vehicles. A landscape is just a vehicle. The viewer might think different things, and I’m not going to intervene.
As an actor, the whole process of shooting for movie or television is so artificial though the final product may be extremely realistic to the viewer.
I think the astute viewer can recognise I am the proper bloke, because I have a toolbox and can put things back together, and I can quote W. B. Yeats and Alfred Lord Tennyson.
It is one of the primary motives of modern art that it wants to abolish the distance which the viewer, the consumer, the audience maintain vis-a-vis a work of art.
I’ve seen descriptions of advanced TV systems in which a simulation of reality is computer-controlled; the TV viewer of the future will wear a special helmet. You’ll no longer be an external spectator to fiction created by others, but an active participant in your own fantasies/dramas.
We’re going to try to create some programs that are going to generate viewer interest and appointment viewing. We still will have news on Headline News.
I was a diehard fan of ’24’ since the beginning. But being on the show, there was stuff I never thought about as a viewer, like, wow, it’s going to be a single day for 10 months out of your life – you have to look exactly the same every day.
Every viewer is going to get a different thing. That’s the thing about painting, photography, cinema.
Smart writers really take their time in investing in backstories and characters. As a viewer, you have to invest in them and love them before you can chip away at what’s going on more on a deeper level with secondary characters.
Everything you do is about creating an experience in the viewer’s head. If you’re rude or irritating as a performer, then your magic is irritating.
As a viewer, I will go and watch only commercial films.
The picture is being promoted as Disney’s ‘Spirited Away,’ although seeing just 10 minutes of this English version of a hugely popular Japanese film will quickly disabuse any discerning viewer of the notion that it is a Disney creation.
It is important to know what audiences might expect from their genre movies, but I think it is also important to not give them everything they want. As a viewer, I think it can get pretty boring that way.
As a reader and as a viewer, usually when I watch a movie, I’m caught up enough in the movie that I’m not breaking it down to the details anyway.
It’s healthy to have two car shows. Why not? The viewer gets twice as much car show to watch.
What I loved about ‘Strictly’ as a viewer and contestant was that it was warm, family entertainment. So it is a shame for the show when controversy surrounds it. That is not what we like about ‘Strictly.’
It matters that we have balance and facts and push people when they need to be pushed so that we can give the accurate, fair, balanced piece to the viewer, and then it’s up to the viewer to be the judge.
When I do watch things, they tend to be a lot of comedies. I actually like some of the British comedy series. But, on the whole, I’m not a huge viewer of anything.
The promise of any artwork is that it can hold us – viewer and maker – in a conflicted or contestable space, without real-world injury or loss.
The problem with shooting in Paris is, it’s been shot to death. When you’re in it, you already think you’re in a movie, so how do you get away from that feeling, and give some frisson to the viewer?
If there’s flat tires or bad food or rough lodging or zany people that we meet, we throw them up all on screen so that the viewer doesn’t feel like they’re watching a kind of sanitized, produced effort.
When I imagine my viewer – and it sounds saccharine – but it’s a family thing. People in line for my books came as families.
My goal is to make the viewer a little bit smarter.
You need to know who your ideal viewer is, and mine is a 14-year-old screaming female. And I’m thrilled about that. I am thrilled.
The need to look behind the curtain is great for a filmmaker. But whether you want to deconstruct what you like as a viewer, what you like and don’t like, I wish we could let films stand on their own a little bit.
The painter has total control over what they’re showing to the viewer.
SRK is a gem of a person. He told me that he is a keen viewer of ‘Comedy Nights with Kapil’ and his family records those episodes which he misses during shooting schedules.
‘I Spy’ represents the absence of the tension of the black man or black woman or anyone of that color walking in, so that the white racist person can become entertaining to a viewer.
Surf films should be completely different from a webisode. They should give the viewer different feelings and emotions.
The challenge is, in terms of a canon like ‘X-Men,’ it’s more like ‘Harry Potter’ and Hogwarts, or ‘Game of Thrones.’ It needs time and space to evolve and to bring the reader or viewer in and give them a result that’s worth the investment of that time.
I like movies as a viewer that challenge me to actually think rather than spoon feed everything to me.
The idea of a ‘happening’ is that there is little distance between the viewer and it, whatever ‘it’ is. It’s an experience that’s on-going and evolving.
I can tell you what I personally use a camera for. Basically, it is to record a moment. A moment that is vital to give the viewer a sensation of liveliness, sadness, joy and so on.
A big reason why I’m not a big TV watcher is that in my formative years as a viewer, there wasn’t that much great television on, or at least, television that appealed to me.
As a viewer, my own work elicits strong emotional reaction from me.
One doesn’t make art for other people, even though I am very concerned with the viewer.
A woman doing comedy doesn’t offend me, but sets me back a bit. I, as a viewer, have trouble with it. I think of her as a producing machine that brings babies in the world.
There are so many talented filmmakers, but they find it difficult to put their content out to the viewer.
It’s easy to make something avant garde. To do something in the traditional way is much more brave in the sense that you’re – your technique is so much more exposed because there’s not all this flashy stuff to distract the viewer.
There’s something imminent in the work, but the circle is only completed by the viewer.
With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.
In virtual reality, we’re placing the viewer inside a moment or a story… made possible by sound and visual technology that’s actually tricking the brain into believing it’s somewhere else.
All we do is bring the debate from both sides, and let you as a viewer decide where you want to end up on the issue. That’s very important. That’s exactly what happens in ‘Redemption Inc.’
Photography is always a kind of stealing. A theft from the subject. Artists are assaulters in a lot of ways, and the viewer is complicit in that assault.
There are always two people in every picture: the photographer and the viewer.
I find as a viewer, when I go to see comedies, the strain to be funny throughout the whole thing. I start to lose my sense of reality, and it ends up feeling like an empty experience; there’s funny stuff in it but I’ve lost the emotional connection to the characters because it’s just so bananas.
