Audience Immersion Quotes

When people come into the theater, whether it's the screen or the stage, they've gotta be transported and transformed.

The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.

I don't think it's good when entertainment tries to proselytize and I don't think people ultimately want someone showing up in their living room and just hectoring at them all day long. But if you can create a space where people are caught up in something - whether it's a drama, a comedy, a romantic comedy, or science fiction - that's when people give over their minds and allow their emotions to flow.

Narrative and characters have always interested me. I never tried to alienate an audience. Of course, gradually, I wanted a bigger and bigger space to draw people in, so it's very organic [growth].

I really feel that's part of why audiences go to movies now is to take you to a world you have no access to, whether it's the world of Avengers or Middle-earth or bars in Boston you would be afraid to go into. You see characters there - they aren't hobbits but they're close.

In the case of 'Jack Ryan,' it was a huge collaboration, and I enjoyed it very much, and most of all, I want the audience to enjoy it, too. I want them to feel immersed in this world.

Even though one of them is about an Edinburgh junkie and ones a little boy of eight in Manchester, you want them to always portray their world in such a vivid way that the audience can disappear inside the story.

The thing of sitting in an audience and going into a dream-like state with several hundred other people that are sharing exactly what you're feeling is a profound event.

I realized that my camera work could help me in a lot of ways to put the audience in the driver's seat, so to speak, to get them in there with the action, and to get them as close and be as intimate with what was going on on-screen as possible.

I like it when I'm watching a movie which has a harmonious feeling to it. It's as if the environment puts you in the mood for the characters and story you experience.

I just want my music to involve an audience in what's taking place onscreen.

You do understand that you can't force the situation, but in terms of how you edit, you can define that to take the audience along, whether it be a storyline or a character moment that we can play out. The more experience you've had, the more beneficial it is, period.

I could get an audience into my world and if you can do that, they'll go with you not all the way, but a lot of the way.

There are some actors who come alive in front of a crowd, and if you've cast it right, there's an energy between cast and audience that can be exhilarating for both parties, then enjoyed by the audience at home.

I've always tried to make movies that pull the audience out of their seats... I want audiences to be transported.

Every movie you're going to forget that it's 3D whether it's widescreen or whatever it is, you're going to forget everything if the movie is working. If the movie doesn't work or if the movie generically doesn't work then immediately you start to pick apart whatever has contributed to that.

Also expressionistic filmmaking - making the audience feel like they were inside the characters' heads. And so we create all these different types of techniques to put the audience there.

You have to find your tone and work within that to make it as real so the audience can really engage in the story you're telling.

Movies are, like sharp sunlight, merciless; we do not imagine, we view.

The idea of audiences becoming part of the show is, I think, where theatre is going.

The music's job is to get the audience so involved that they forget how the movie turns out.

So long as the spectator has to figure out the meaning of this or that person, or the presuppositions of this or that conflict of inclinations and purposes, he cannot become completely absorbed in the activities and sufferings of the chief characters or feel breathless pity and fear.