The kind of roles which you get, people identify with your roles, and it then leads to the kind of brands you get.
I think people have been really receptive to understanding that I've grown up and the music's going to sound a little different.
I think right after 'Up in the Air' everyone wanted me to play the girl from 'Up in the Air,' and it took a little while for people to think of me as an actress from a film that they liked instead of just that character.
I think the more the actor lets you know what he thinks of the character, the less the audience cares - like a comedian who laughs at his own jokes.
All songs, all pieces of art, reflect the world that they were made in and the values of those artists and the hopes and aspirations of the people who listen to that music and who made that music.
If a spectator with a philosophical mind, somebody accustomed to reading books, gets the same kind of information in a movie, he might not fully understand it.
Especially with music, people want confidence.
I'm rather kind of old school, thinking that when an artist does his work, it's no longer his... I just see what people make of it.
I've gotten more flack from the remake nature of our 'Being Human' from American audiences than I have from British fans. Every fan of the BBC original that I've bumped into seemed very excited and interested in seeing what we did with it - at least to my face!
It doesn't matter what we post about ourselves on social networks or how many times we play live TV, even. It's all about those people, those fans who are telling other people about us.
Musically, I always allow myself to jump off of cliffs. At least that's what it feels like to me. Whether that's what it actually sounds like might depend on what the listener brings to the songs.
A movie is just like a work of art or a book or a piece of music. The intent of its maker is one thing, but its interpretation by an audience is something else. I don't stop at what the filmmaker wanted to do.
You know, I say in my lyrics, "Every word I write will be analyzed by somebody white." It's just that I know that this sh*t is just not gonna fall on deaf ears.
Bad people sometimes do good things, and good people do really bad things or do something the audience disagrees with.
I'd rather an audience like me than dislike me, but I'd rather they disliked me than be apathetic, because that is the kiss of death.
You can't just keep bottling the same thing over and over again and think the audience isn't going to catch on.
Just as the historian can teach no real history until he has cured his readers of the romantic delusion that the greatness of a queen consists in her being a pretty woman and having her head cut off, so the playwright of the first order can do nothing with his audience until he has cured them of looking at the stage through the keyhole, and sniffing round the theatre as prurient people sniff round the divorce court.
I see myself as a hip-hop artist, but I never wanted to make music for a specifically white audience. That's not what I grew up around.
I think, specifically with the horror genre, you have to make it very believable because it can come across ridiculous.
I prize something that feels authentic. It's an undefinable thing, but I know it when I see it, and I think audiences do, too. One of the reasons why 'Bloody Sunday' and 'United 93' work is because they felt real, felt truthful.
When audiences look at an action actor like myself, sometimes we are very easily stereotyped or characterized as one type. They forget that we are actors, too.
I enjoy making people laugh, but what I find funny and put online, others might misconstrue and find jerkish.
'Batman' readers are the smartest readers in the world. I don't have to hold their hands.
I always work on the theory that the audience will believe you best if you believe yourself.
I'm really not worried about what fans think.
