Adelaide Kane Quotes

Writers write for one reason: to create an emotion in the reader, to reach across and make them feel something. You want a reaction. Yeah, it's nicer when the reaction is to throw flowers than it is to throw brickbats, but you have to accept both equally.

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.

If you lead with the anger, it will turn off the audience. And what I want is the audience to engage with the material and to listen and then to ask questions. I think that 'Ruined' was very successful at doing that.

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.

I love to entertain, I love to make people laugh, cry, and move them, perhaps moving them in their lives.

The people only understand what they can feel; the only orators that can affect them are those who move them.

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

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

You can get swept away by a musical, but real tears are rare.

I think that with any emotion - fear, love, nervousness - if the actor's feeling it, then the audience feels it.

To me, it's never about the trick. I don't care about how something works. I care about how people feel when they watch it. You know, that - that connection - that emotional connection is true magic.

We give you this story. It is for the audience to be moved and gut wrenched, not us. It isn't as if we don't go through those real feeling and it isn't as if I don't cry three or four times a night. I usually do.

Above all, I try to create an emotion to which others can respond.

I wouldn't say that I'm actually trying to cause chills in the audience, but certainly my goal is to, at the very least, effect a physiological response - at the most, to effect some sort of state change, ideally, in the audience.

It's very difficult to get an audience to be terrified of what's going on. Think about it: You're in a room with so many other people, so for them to be terrified and to care about what's going on on-screen takes a lot of work.

Showing 'Get Out' to a room full of strangers and having them react lets them be introspective and see the way certain images affect other people.

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.

I don't want to make people cry - unless it's with happiness.

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.

Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.

One of the things I love about music and making beats is making something and watching someone's reaction, knowing you can do something to manipulate the way people move or act.

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.

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.