Quotes About Reaction

People don't step outside themselves and make the film they want to make, because they're afraid of the reaction. But once you get that reaction and have lived through it, there's nothing they can do to get you down.

It's cool seeing stuff, like, that come together really quickly and the reaction that it gets.

People in business tend to have an instinctive reaction to people.

The most important thing is to illicit some reaction, good or bad. If some people are repellent to me, so be it. If some people are attracted to me, great. At the end, that's the object of entertainment - you want to provoke a reaction.

If you're going to do something that's going to cause offence to people, you're always going to get a reaction.

The normal reaction of a publisher when faced with an author with a bee in his bonnet is to grab the check and run.

When the ball was hit, my first reaction as a shortstop was always go in the direction of the ball. You can't do that at first base. You go too far in that direction, and it's hard to scurry back and be ready to pick the throw.

The alt-right for me is primarily a cultural reaction to the nannying and language policing and authoritarianism of the progressive left - the stranglehold that it has on culture.

When I think of myself interacting with material that I like, that's the material that inherently appeals to me, that gives me room to have my own reaction.

In politics, as in physics, every reaction is met with an equal and opposite reaction.

Really, laughing is such a strange reaction to something. The idea of it is so bizarre, so instinctual, and kind of magical.

Augmenting your appearance so drastically that it elicits a reaction from literally every acquaintance you greet is a sea change.

I thought that our first New York Comic Con for 'Jessica Jones' was epic because we had a pretty major reaction from the crowd after showing our first episode!

I just hope people enjoy 'Phase' as much as I've enjoyed making it. I hope it's a good reaction.

There's always a knee-jerk reaction in our business to analyze and determine why something didn't work.

I just love any kind of language that can change the energy in a room. There are no limits for me, as long as it feels like it's being used in a particular way to garner or elicit a very particular reaction so that you can then use that reaction later for something else.

We try to not write stories based on reaction. We try to write them based on character integrity as we understand it and observe it.

I still think that, uh, the original draft from 'The Room' was brilliant in its own way. It made me laugh, which is - which is a good thing. It got a reaction.

When I'm fighting, I'm trying to find a reaction. I try to make the guy move; I try to make him do things that I want him to do. If he likes moving a certain way, I try to set something up so I catch him if he moves that way.

I can only be instinctive in my reaction to Shakespeare.

Every single performance of 'Fleabag,' I would learn so much from the audience reaction or how you could change it all the time, and I loved that sense that the performance is ever-growing and changing and could be affected by the audience.

Theatre is real-time - you get that real-time audience reaction, which is fantastic. And with art pieces, people don't ever have to explain themselves. You can do something and really follow a research. With architecture, you have to be much more public. You have to build consensus. You have to work within the law. There are more complexities.

When the HIV/AIDS epidemic first appeared, a lot of the reaction was that it's not happening here. It doesn't exist. It's not on the continent of Africa. Then we moved into this other phase, in which it was kind of like, it's everywhere.

People see themselves on camera. They're ashamed of the things that they do, so they have a choice: Either they accept responsibility for it, or they blame the show for it. It's a human reaction.