Joanne Froggatt Quotes

Dramatic experience is not logical; it may be subdued to the kind of coherence that we indicate when we speak, in criticism, of form.

Comedy and horror are cousins; they're related. They both come from storytellers who want to specifically affect the audience and elicit specific reactions during the movie.

A film with an untidy plot cannot grip the audience and define their emotional response.

I think the last thing you want to do as a writer, as a storyteller, is to create indifference. I don't necessarily go out of my way to provoke, but I would much rather have a song that triggers a whole myriad of reactions than a song that inspires a shrug of the shoulder.

The reason I'm an actor and am trying to make my way in drama is to move people, to affect people, to gain a response - so these people who come up to you in the street are your audience.

Literature could be said to be a sort of disciplined technique for arousing certain emotions.

If people need to be informed by lines, then there's no reason why the actor is saying the line except for information for the audience; I think there's something wrong.

Musicals are, by nature, theatrical, meaning poetic, meaning having to move the audience's imagination and create a suspension of disbelief, by which I mean there's no fourth wall.

I don't know why people are so surprised by my live performances. My approach is so simple; every song I sing, every story I tell, every move I make, must move the audience to laughter, tears or inspiration. Otherwise, why should I do it?

It's like fiction - the fact that somebody's telling you a story about people who didn't exist doesn't make the experience of the story any less real in your heart and mind. You go through heavy emotional responses to these stories, and wrestling is a similar thing - but it's happening in real space.

As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.

What moves me most is style: the quality of the writing rather than the story being told.

I like making people feel things. Acting doesn't seem like lying but like storytelling.

All the things I talk about are true, but some of them I may tweak a little bit. A lot of it is the way I feel about wrestling. When you have a character like mine, you can push the envelope and go far with some of the issues.

It's why we're actors: to be able to tell the stories that really matter.

I'm not standing above the audience trying to manipulate them as a puppet master or a trickster; I'm inside the story I'm writing and making and thinking about things very seriously and feeling very deeply at times, and trying to translate that into a narrative.

When I make a film, the yardstick is my mind. If I laugh at the jokes and feel sad at the serious undersides, then the subject works.

Wrestling and sports entertainment is not about the moves, it really isn't. It's about being able to evoke emotion in one facet or another.

When you're in a good play and a good production, you find that you're in something that has a life beyond you. You think, 'Oh my goodness, this play's alive.'

What I strive to do is to make the theater experience something that people remember and recall rather than dismiss because it was less like their everyday experiences. So, I'm less interested in internal emotionalism and much more in making the audience laugh and cry by the devices that we use as theater actors.

'Cabaret' was one of the first pieces of musical theater I saw that showed the possibilities of what musical theater can do.

My goal is to always try to make you feel something, whether that's humor or sadness or excitement, and to try to manipulate screen space.

I just love any kind of language that can change the energy in a room. There are no limits for me, as long as it feels like it's being used in a particular way to garner or elicit a very particular reaction, so that you can then use that reaction later for something else. But when it's gratuitous language or physical exposure, then I get a bit like, "Oh! Put it away!"

Some actors just have a quality, a way of combining music and character and story, where everything just falls into place.

I may make you angry or make you feel sorry for me, but in the end, you appreciate my show because it's not one-dimensional.