I consider each performance to be an intimate conversation between me and the audience members.
My dream was always to have an experience where an audience member would turn to another audience member, a stranger, and be like, 'What did we just go through?' And, like, kind of begin to talk.
I mean it allowed me to do that which was fantastic because we really get to see the character mature and deal with some things that are, that I think as an audience member, really pull us in.
Games get a bad press compared with, say, opera - even though they're obviously better, because no opera has ever compelled an audience member to collect a giant mushroom and jump across some clouds.
What I worry about the most is the competition for young eyeballs. We have so many other competing forms of media. I don't take any audience members for granted.
It's pretty inappropriate of fans to think they can expect any kind of narrative from showrunners or writers or actors. I just don't think that's the way you should engage with material that you're watching as a passive audience member.
I don't write scenes where one person is right and one person is wrong. It's very much by design that everyone has a point of view that you as an audience member can understand.
I spent so many years of my life as a stage actor and when you do all these plays, a lot of really great plays are very politically driven. They deal with deep social issues, and that's the kind of stuff that I love, as an audience member.
In a jazz atmosphere, the audience members were so quiet and respectful of the musicians that you felt you were almost part of a meeting at a church or a temple, where everyone was completely in tune with the sermon and what the whole event was about.
When I get a script, it's the only time that I get to be an audience member with the first-time experience of that movie. That's the first and only time.
