An actor must interpret life, and in order to do so he must be willing to accept all experiences that life can offer.
If you want something from an audience, you give blood to their fantasies. It's the ultimate hustle.
Interpretation
What this quote means
The quote emphasizes the importance of understanding and engaging with the desires of an audience to succeed in creative endeavors.
Marlon Brando's quote highlights the idea that artists and performers must tap into the dreams and fantasies of their audiences to capture their attention and achieve success. By 'giving blood' to these fantasies, one is investing emotional and creative energy, which is essential for making a meaningful connection and ensuring that one's work resonates deeply with others. This reflects the hustle often required in the arts, where understanding and catering to audience desires can lead to greater recognition and impact.
Themes
In practice
Example use cases
In a speech about creative expression, one might say, 'As Marlon Brando said, by giving blood to the audience's fantasies, we truly engage them.'
More from Marlon Brando
All quotes →A sensitive person receives fifty impressions where somebody else may only get seven. Sensitive people are so vulnerable; they're so easily brutalized and hurt just because they are sensitive. The more sensitive you are, the more certain you are to be brutalized, develop scabs.Analysis helps. It helped me. But still, the last eight, nine years I've been pretty messed up, a mess pretty much.
I don't stretch my hand out anymore, but I never get tired of waiting for the next magic.
I put on an act sometimes, and people think I’m insensitive. Really, it’s like a kind of armor because I’m too sensitive. If there are two hundred people in a room and one of them doesn’t like me, I’ve got to get out.
Tell me, do you spend time with your family? Good. Because a man who doesn't spend time with his family can never be a real man.
Too much success can ruin you as surely as too much failure.
Similar quotes
You know, they ask me if I were on a desert island and I knew nobody would ever see what I wrote, would I go on writing. My answer is most emphatically yes. I would go on writing for company. Because I'm creating an imaginary - it's always imaginary - world in which I would like to live.
I don't go to shows because I just want to listen to the music performed live. I want to get to know the person who's performing it. Or I want to, like, take away a sense that I had an experience that nobody else is going to have again, or a unique experience for that moment.
What's interesting about the process of acting is how often you don't know what you're doing.
Dancing is bigger than the physical body. Think bigger than that. When you extend your arm, it doesn't stop at the end of your fingers, because you're dancing bigger than that. You're dancing spirit.
Even if I don't release it myself, somebody else might hear it and want to record it. When you write a song, it gives it that potential.
I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn't catch on right away - but I had some good mentors in New York who encouraged me.