Michael Giacchino Quotes

You want to say as little as you can and get the most punch out of it, always with the knowledge that people are not in the theater to listen to your music so much as to respond to the movie. You're a part of that experience.

I'm a yarn teller. My job is to engage you as much as I can and as often as I can.

Whether you do stand-up comedy or write a story, you have a duty to deliver. As a comedian, you walk out on stage, and you have a minute to hook them, or they'll start booing. As a writer, it's very similar. A reader doesn't have time to say, 'I'll give him 50 pages, as it's not very good yet, but I hope it'll get better.'

The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker I know is speaking clearly to the audience 'right now.'

I want to move people, stir something within them that makes them feel. That's what a movie should do and an actor should do, make you feel something. I think that's why people love films so much.

When I think about how I want to reach an audience, I just wanted to make pieces that were inspired by something that gave me so much pleasure.

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

The greatest filmmakers are not the ones who put everything in; they're the ones who can figure things to leave out, and in doing so, invite your participation.

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.

I think that 'The Sopranos' uses music incredibly well.

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.

The problem with trying to make a film good and have it work for an audience is the problem of trying to tell a story well. The shape or the color of it doesn't matter.

At the end of the day, acting is all about telling lies. We are professional imposters and the audience accept that. We've made this deal that we tell you a tale and a pack of lies, but there will be a truth in it. You may enjoy it, or it will disturb you.

I've always had an idealistic streak about storytelling in that I believe we owe more to audiences than repeatedly bludgeoning them over the head while stealing their lunch money. We owe them inspiration. That's why I'm more interested now in creating new heroes than hooking up jumper cables to old ones.

There is no essential difference between the material of comedy and tragedy. All depends on the point of view of the dramatist, which, by clever emphasis, he tries to make the point of view of his audience.

I'd say Rob Reiner's 'When Harry Met Sally' is my all-time favorite. It made me realize there's a way of telling a story where the audience is so in love with the characters that they forget you're even telling a story.

The big thing for me is to make films that you feel, whether you feel happy, whether you feel sad, whether you feel sick; it's to make the audience feel so that the next day they remember what they saw.

I like finishing a movie and having this living, breathing thing.

I'm passionate about music, and I feel that theatre has an extraordinarily musical ability in the way it operates on the audience.

I don't know - music in film, for me, is not another part of a soundtrack; it is something that also helps to approach a character, to foresee the type of image - you see what I mean - it's like a part of the process.

As an actor, you know when you've got great material in front of you. When you're working, you think, 'Is this the one? The one that everyone will respond to and be moved by?' You pray that you have told the story well... that your peers will see it and audiences will love it.

Where I have come unstuck sometimes has mostly been to do with the stories not being quite right or not connecting with a contemporary audience.

You can make a film in a way that, when the audience leaves the theater, they leave with certain answers in their head. But when you leave them with answers, you interrupt the process of thinking. If, instead, you raise questions about the themes and the story, this means that the audience is on its way to start thinking.

As an actor, you really want to resonate with your audience.

I'm not a pyrotechnical director; I'm not good with all those innovative things. What I am interested in is how actors can touch the heads and hearts of an audience.