Audience Investment Quotes

I'm a bit of a hothead in certain circumstances, but you've got to temper it because your fans are there, and they've paid good money to see a show.

You need to be invested in what happens. The characters are your conduit to the story. Many modern horror films are fun but not frightening because one has not connected with the characters.

I can't impress enough upon people that if you tell an honest story that people relate to and people believe and invest in, you can do anything.

One thing I think is really important is chemistry, and if actors have chemistry, audiences will pick up on that. Audiences will root for characters that don't even exist as a couple because the actors' chemistry is so strong.

I've done a lot of pilots, and they're all so expositional. In the beginning, I think that it is important to make sure that the audience is invested in us.

A person doesn't only give money to watch a film: he also gives his time.

If I haven't got someone to leave in five minutes for at least one of my films, then I'm not doing my job.

So when things start going badly, you're invested in the characters in a way I think amplifies the horror and the fear because you're invested.

Give the reader at least one character he or she can root for.

If I can get the audience to connect with the characters emotionally - and they love who they are, they love the larger-than-life situation that they're in, but most of all get the audience invested in the characters - then I always feel like I can sort of put them in the most outrageous circumstances, and the audience is okay to go with that.

One result of moviemaking - and a side effect of moviegoing - is familiarity. If an actor is particularly good, familiarity opens into something deeper: care, concern, identification, empathy. Yet even those concepts can feel inadequate for some actors.

I feel that in horror movies, especially, if you don't care about the characters, you've lost the audience. No one cares, and it becomes a process of watching people get killed.

It's always really cool as an actor to have a character that people want to see the best for.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It's hard to be scared if you don't feel for a character, because you don't care if they die or live.

I take a lot of pride in the work I do, because people pay to see me. They've got to get babysitters, park their car, get popcorn and candy. I've got to be conscious of that.

I tell the audience every night, "I hope you didn't pay more than face value on that ticket, because we ain't worth more than that, and you ain't gonna get any more than that."

At this stage, what would be rewarding would be for audiences to want to watch.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

You always hope that people will fall in love with the characters you play, the way you do yourself.

You have to understand that you are not making the film for yourself; you're making it for the audience. If I am asking my audiences to buy tickets, I owe them the worth of their money, and I owe them entertainment.

The movies that are really big, at least in my experience, oftentimes don't have characters that I feel as personally connected to.

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.

As a viewer, the minute I start getting confused, I check out of the movie. Emotionally, I'm severed.

You have to be involved and relate to the characters in order to make a film that is true emotionally.