Sydney Pollack Quotes

The audience likes their emotions to be touched. They want to laugh and cry and feel good.

I think good entertainment makes you feel something... it can be a variety of different feelings.

I question what emotion Manilow touches. People are entertained by him. But are they emotionally moved? I don't believe anything that Barry Manilow sings.

Live theater is just an incredibly powerful medium, and I think anyone who goes, whether they know about it or not, if they see something that sort of fits with them, it's kind of hard to deny that they had a good time.

As a viewer, I love watching movies. There has to be an emotional connection.

When she started crying in my rehearsal, I felt so badly because I was like, 'I'm making Kelly Clarkson cry right now,' but it also felt really good because I thought, 'If she is feeling this, hopefully, America will feel this, too.'

You either have to make people love you or you have to make them hate you, it doesn't really matter either way. If you can't bring that emotion out of your audience then you're not going to have them for long.

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.

Sometimes we do derive some entertainment when we 'appreciate' something, and sometime we feel something when we're moved. So a lot of game makers want challenge themselves with 'can I move someone?' or 'can I get them to respect me as an artist?'

I love when a TV show, or entertainment in general, makes me feel something; be it positive, be it negative, be it happiness, be it awkward, uncomfortable if it can make me feel, it's done it's job.

For one who is having no personal experience, the passionate disquiet of others is at any rate a titillation of the nerves, like seeing a play or listening to music.

Our sole mission on this show is to make people think, make people feel, and make people happy as much as we can.

There's so many great wrestlers in this sport who could probably work circles around me and it's amazing to see that, but I love being the kind of character who can take you on a roller coaster, make you smile and laugh.

At heart, we believe that the films that work well are the films that do touch people emotionally.

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 don't think it's right to define films as commercial or art house. What's important is that a film evokes a certain emotion when it's being watched.

You really have to do your job as a writer and push people to be as creative as possible. What's nice about the TV medium is you have such a connection to the characters that when somebody dies, the audience cries. They really feel it. You really don't cry when someone dies in a horror movie.

It's interesting, for me sappy means sentimental and something that gets you in your heart, gets you emotional. That's what I mean. Also, of course, it means that I'm slightly setting up the audience that there's a bit of fun involved, as well.

I believe with all my heart in delivering on my contract with my readers. They've got plenty of other things to do, so I had better give them a reason to turn every one of these 550 pages. This is my promise: I solemnly swear I'll make you laugh out loud at least once, cry a little in private, and burn whatever you left on the stove.

I get an audience personally involved in a song - because I'm involved myself. It's not something I do deliberately: I can't help myself. If the song is a lament at the loss of love, I get an ache in my gut. I feel the loss myself and I cry out the loneliness, the hurt and the pain that I feel.

It's just a wonderful experience and it's fun when you make a film and people go to it to emote and in my picture you hear the audible sobbing and then you hear the audible laughter and then you see people leaving the theater with a little bit of spring in their step. It's just great to be part of one that lasts a long time.

You may be sure that if you succeed in bringing your audience into the presence of something that affects them, they will not care by what road you brought them there; and they will never reproach you for having excited their emotions in spite of dramatic rules.

"Good for him," Hale said. And then he stopped. There were four other people in the room, but Hale only looked at Kat, and something in his gaze burned her, froze her, made her want to run.

Her cry was the saddest sound of orgasm that I had ever heard.

Night after night, through years of performing and directing, I've stood in awe of the audience, of its capacity for response. As if by magic, masks fall away, faces become vulnerable, receptive. Filmgoers do not defend their emotions, rather they open to the storyteller in ways even their lovers never know, welcoming laughter, tears, terror, rage, compassion, passion, love, hate--the ritual often exhausts them.