Quotes of All Topics . Occasions . Authors
As an anchor, I want to make sure we're exploring all angles on a story. The viewer can make up their own mind.
If an actor can emotionally bond with the viewer, then it does not matter if he is handsome or ordinary looking.
Most conservative and progressive talk radio is primarily just that - bloviated opinion and whacky viewer calls.
There's that rule: Don't show any of the other cameras. Why? Do you think the viewer doesn't think we filmed this?
The idea of having a narrative guiding the viewer through and grasping their attention is a really compelling thing.
If there is something I don't know and I suspect that I need clarification and so does the viewer, I just ask for it.
The fear for a network is the viewer gets tired of you. Not that you lost any credibility, but they get tired of you.
I think that acting involves doing your job so well that you are able to help the viewer identify with the character.
The hidden child wants to be able to participate and to co-create in art, rather than being simply an admiring viewer.
Surf films should be completely different from a webisode. They should give the viewer different feelings and emotions.
I've always wanted to be a songwriter and a storyteller and somebody who conveys a feeling to the listener or the viewer.
The sitcom's traditional role has been to comfort the viewer who feels burdened by the unreality of American expectations.
I have great faith in the intelligence of the American viewer and reader to put two and two together and come up with four.
When I imagine my viewer - and it sounds saccharine - but it's a family thing. People in line for my books came as families.
What I aspire to is to have the viewer look directly at the subject, as if they're looking through a window at the real thing.
The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.
I love Vines. You make this 6.4-second drama, and you can reach 6 million viewer, and make people laugh. I find it so fabulous.
What intrigues me is making images that confound and confuse the viewer but that the viewer knows, or suspects, really happened.
It's what you don't see that keeps you on the edge of your seat in any kind of film - leave it to the imagination of the viewer.
I don't like the idea the viewer can kind of sit there and go, 'Make me like this person.' People aren't inherently sympathetic.
The power and appeal of Documentary is the way it alters and plays with the way the viewer relates to and understands the subject.
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.
When we make the show, we are always talking about how the show is really in between what we make and what the viewer thinks of it.
The viewer I picture in my mind when I do 'The Kelly File' is a woman who's had a long day, either with the kids or at work, or both.
Most people I run into say, I haven't missed an episode. Either you like Survivor or you don't, but if you do, you're a loyal viewer.
Film fixes a precise visual image in the viewer's head. In fiction, you just hope you're precise enough to convey the intended effect.
Every role is physical to a certain extent, but as a viewer, I don't respond well to actors doing more than they need to tell a story.
'Doctor Who' is where my love of science fiction and fantasy started. I was introduced to it when I was 8, and I'm still an avid viewer.
I feel my work is made for one being, one individual. You could say that's me, but that's not really true. It's for an idealized viewer.
Sound creates an intimate effect: the sensation to feel the place. It makes the viewer enter. You have the liberty to hear what you want.
I think I would struggle with any job if it was purely about effects. Even as a viewer, those aren't the kind of things that interest me.
I can bring in all these different components, and I marry these components, and I let them get traversed by the viewer, who reorganizes them.
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.
At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.
As a viewer, I really want to watch author-backed stories, and there is something amazing about thrillers, the way it captivates your imagination.
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.
My favorite types of movies to watch as a viewer are thrillers - I really have a soft spot for them, I love them. Especially psychological thrillers.
I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.
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.
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 don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
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.
What I learned, a little too late, was that the 'traditional' Martin Short target viewer weighs under 300 pounds. Unfortunately, I was on during daytime.
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.
I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.
The 'indistinguishable from magic' thing is highly dependent on where a viewer is looking from and not something intrinsic to any particular sort of tech.
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.
One of the reasons why you like to do your own drawings is, your style changes over time. And there's something about that that keeps it fresh to the viewer.
As a writer, I've tried to avoid strong opinions about morality. You just want to present things as they are and let the viewer come to their own conclusion.
My work has threads of ideas from all over the place. I try to crystallise them in something simple and direct that the viewer can then take where they want.