Zeljko Ivanek Quotes

There are ways in which you can make sure that even if people come to the theatre because they know an actor or actress, by the end, they've forgotten that, and they leave going, 'Wow - what an amazing play.'

I know when I go to a movie I want to experience something, whether to laugh, to cry, to feel bad.

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.

Music and language are a vital element. We, as actors and directors, offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves.

I don't have a favorite genre. I love to work and live vicariously through every character. It's all about trying to bring the character to life and get the story across in a way that resonates with the audience. It's always interesting and challenging in a gratifying and unique way.

I think it's important that filmmakers look at the technology and figure out how to make the theatrical experience a little more exciting.

It's awesome to see something like 'Inception', which is just mind-blowing and amazing, and it actually resonates with the audiences. I feel like that's rare.

Opera was the cinema of its time, so to bring back that popular appeal, you just need to unleash its visceral immediacy and excitement. Most productions don't manage that - but when an opera does do it, you never forget it.

If you are not moved by the character, no amount of CGI will give you a performance that is emotionally engaging or devastating - what a live-action performance does.

You can't but know that if you can capture the emotions of the audience as well as their minds, the play will work better, because it's a narrative art form.

I wanted to make people feel the same way I feel when I see a good movie.

I had a moment - and I don't know if it was funny, necessarily, but I realized the effect I could have on people - when I was doing a production of 'The Little Prince,' and I played the snake.

When you go into the theatre and the lights dim, you want to entertain people from beginning to end. You want them to be swept up in your story, on the edge of their seats, unable to wait to see what happens next, be blown away and afterwards just go, 'Wow!'

As a fan of the books, I feel fortunate to be part of 'The Hunger Games' family. It was an amazing experience; I am proud of the film and my performance. I want to thank all of my fans and the entire 'Hunger Games' community for their support and loyalty.

You may not quite understand the cinematic tricks that go behind the making of a film, but as long as you feel it, I think that's the important thing.

Cinema has to move people.

The music is the emotional substance of the show; the book just sets it up. Nobody goes to a musical to hear the book. That's the way it works.

When an actor constructs reality, it has to be riveting and entertaining. There has to be an emotional connect with the audience.

For me, there's something about a certain kind of genre film that has real potency in its emotional landscape.

The endings to me are the key moment in 'Weekend' and '45 Years.' I know how I want my gut to feel at the ending. Even if I can't articulate in words what that feeling is, I'm trying to find ways to get there.

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.

Well-written plays deserve to be learned from and understood properly, both by actors and audiences alike, and Rattigan's very human characters help us do that.

A film sells feelings.

People don't come to the theatres to watch a kiss. It's the story that appeals to them.

That's my job as an actor - to go on and try to do the work so subtle and so fine and specific that the memories will linger for a long time.