Bruce Campbell Quotes

I have seen 'Thor', yeah. It's fantastic. Being that close to something, it's often pretty hard to watch yourself, but the film in so many ways is so impressive that I was swept along with it like an audience member, and that's a pretty good sign.

For me, there is nothing more valuable than how people feel in a movie theater about a movie.

My first experience of that was with my first movie which I did in India. And it was so different from other people. I find that "Oh my God." Every time the music is slow I feel that people are going to get up and go out. You get this nervousness. But, to my surprise, people starting singing the song even before it came in. They started singing along a week later, after release, which was very cool.

I don't want people leaving the theater depressed after my movies. I want them angry.

I hope my films will never completely be without the ability to mark anybody.

I think the New York theater audience is very savvy. Sometimes you get newbies who think they're going to be watching Smash onstage, and sometimes you have people who have been coming to theater for years. It's the combination of those people in an audience that makes for a pretty amazing night - their ability to give each other permission to react and enjoy, in a way that maybe they wouldn't if they weren't sitting next to each other.

I find it difficult to breathe when l'm in the space. There seems to be no oxygen. I want to put people into a situation where they're sensitive to themselves watching the piece.

Every movement of the theater by a skilful poet is communicated, as it were, by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions which actuate the several personages of the drama.

There's always a moment in any stand-up show I do where people are booing. They kinda boo a premise. And then I bail myself out with a joke. But it's like trying to do movies where there's a dramatic undertone.

If I'm able to catch the screening, there's a point in the film where, like clockwork, a portion of the audience gets really emotional and begins to cry. And that's very difficult to make happen.

I've never watched my films with an everyday audience so it was really crazy to watch people clap at the end of my film - with no one there, no actors, no people from the film. It was just a spontaneous reaction, so I thought that was probably the best compliment you could get from an audience.

She was a stirrer of the pot, a lover of intrigue and distress, a creature who seemed to draw oxygen from the spectacle of people at each other's throat, everybody in a state of upset and talking about her.

It's quite easy to make a load of people laugh, it's often a reflex action, but I think to make them cry is harder without manipulating them.

No matter how much I'm on and people are loving me, there's always some like, and it's usually a woman too, in the audience rolling her eyes, "Oh Wayne, you're embarrassing yourself." There's always someone like that.

The fact is I am quite happy in a movie, even a bad movie. Other people, so I have read, treasure memorable moments in their lives.

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.

For certain things, certain audiences, people will laugh. And in other places, there's dead silence. And I enjoy them both. You try to make films where it's never one way - like life.

I'm interested in the moments where the audience is restless. I'm interested in the moments where they lean in and become incredibly engaged: the laughter, the silence. All of that is part of how I think about shaping and rewriting the play.

The most common-place people become highly imaginative when they are in a passion. Whole dramas of insult, injury, and wrong pass before their minds,--efforts of creative genius, for there is sometimes not a fact to go upon.

The feeling you get from playing to a good audience is hard to describe without sounding as though you are talking silly. But reaction is important. You might feel in yourself that you're doing it ok but it's when you get the live reaction that you know you're doing it right.

If you kill a character people feel sad. That's too easy.

You're a superhero. Shut up and enjoy having superpowers. This makes me crazy. This is why the Marvel movies kick DC movies' asses right and left. Because, I'm not paying $15 for a movie to go watch people being morose about lives that are much more interesting and exciting than mine and they hate them. I'm paying my money to see people sort of revel in doing things that I can't do.

All of my plays have puzzled some people, and I'm happy to say delighted a few, but a lot of people have just not seen how quite to look at them. And this film... if you like my writing, you'll like this film. If you don't, you won't like the film. It's pretty faithful to - it's a pretty uncompromising presentation of my way of seeing things, I suppose.

The more I've acted, I've realised that I have a) no control of and b) no way of really quite understanding how people react to anything I do, or any movie I do.

I once heard a woman laugh at that most tragic moment in all drama, the off-stage shot in "The Wild Duck," and I afterward had her killed, so there will be no more of that out of her.