Treat Williams Quotes
The wonderful thing about Food for Thought is that it lets you keep your hand in theater and be in front of a live audience without a commitment of six months, or even three months.
Quotes to Explore
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I have a sewing machine that I adore, and I spend a lot of time sitting in front of it when I'm not working. And any excuse to paint or draw or do something artistic with my hands really gets me going. Definitely aspiring.
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I was doing community theater since I was about nine.
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When you're still, and some actors are really brilliant at that, you bring a kind of energy to you as opposed to sending the energy out. There are some actors, like Gary Cooper or Kevin Spacey, that are absolutely brilliant - Gene Hackman is another - at being and allowing the audience to just do the work.
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The comedian can put the punchline out there, but it's the audience that receives it - and has to get it.
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Madonna can still produce a catchy pop song, but she hasn't expanded her artistic vocabulary since the 1990s. Her concerts are glitzy extravaganzas of special effects overkill. She leaves little space in them for emotional depth or unscripted rapport with the audience.
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As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.
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After doing a juice cleanse, I'm motivated to eat healthier and not emotionally. Cleansing is like my meditation. It makes me stop, focus and think about what I'm putting into my body. I'm making a commitment to my health and hitting the reset button.
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I don't think about who the audience is for my books.
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My audience has really become a very diverse group of people. It's not just 15-year-old girls. That's kind of what allows me to write from all the different places I want to write from.
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You have to understand that you are not making the film for yourself; you're making it for the audience. If I am asking my audiences to buy tickets, I owe them the worth of their money, and I owe them entertainment.
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I've made a lifetime commitment to the union movement and to public education.
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You have to know one big thing and stick with it. The leaders who had one very big idea and one very big commitment. This permitted them to create something. Those are the ones who leave a legacy.
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The audience has always been my best director.
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I believe wealth should be in the hands of those who know how to create more wealth.
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Some actors get fired up by the sound of the audience. I just want to retreat.
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I have this whole new audience now.
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I do not shake hands from a sanitary standpoint.
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There's always something more to be accomplished with a character. Theater is a human experience. There's nothing shellacked or finished off about it. I guess that's why it always draws me back.
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It is tempting to call for better leadership, but we probably expect too much from the leaders of the nations. Those nations are too big, the connections not strong enough, the commitment to the future not long enough. It is better to look smaller, to our now-smaller organisations, to local communities and cities, to families and clusters of friends, to small networks of portfolio people with time to give to something bigger than themselves. We have to fashion our own directions in our own places.
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You always have to appeal to your audience. You always have to consider how well your project will do in terms of admissions. I abandoned many stories because of that. But I don't get too down about it. It's something I accepted from the time I decided to work in films. I could always do something else if I got sick of it, like draw manga, or make my own films. I found it pointless sitting in my house not working, though I'd like to go on extended vacations from time to time.
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Almost every Marine I've met says I portray a Marine dead-on, which is really, really flattering.
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The wonderful thing about Food for Thought is that it lets you keep your hand in theater and be in front of a live audience without a commitment of six months, or even three months.
