the process is the artwork

You’re going by audience reaction?

IKE (Overlapping, reacting) Jesus, this is terrible. This-this is really embarrassing to me. I mean, I-I mean, this is so antiseptic. It’s nothing like what we talked about.
DICK No, no, wrong, wrong. That’s not antiseptic.
IKE I mean, this isn’t-this has nothing . . .
DICK That’s-that’s very chancy material. I mean, who fights-
IKE (Interrupting) How do you see this as chancy?
DICK -who fights more with the censor?
IKE (Sitting down on the edge of the console) It’s empty.
IKE What-what has the-what has the censor got to do with it? It’s empty. There’s not, uh-there’s not, uh, uh, any substance to the comedy.
PAUL No, no, you don’t find this insightful here?
IKE Well, it’s worse than not insightful. It’s not funny. There’s not -there’s not a legitimate laugh in that.
DICK (Pointing to the monitor) Oh, it’s- That’s funny. That’s funny! Funny.
IKE Why do you think that it’s funny?
PAUL (Gesturing) Look at the audience.
IKE There’s not a-
DICK (Interrupts, pointing to the audience below the control booth)  Look at
-look at the audience there.
IKE (Listening to the audience laughter coming from the monitor) You’re going by the-you’re going by audience reaction to this? I mean, this is an audience that’s raised on television. Their-their standards have been systematically lowered over the years. You know, these guys sit in front of their sets and the-the gamma rays eat the white cells of their brains out. Uh, you know, um, ya, I’m- I quit.

– in Manhattan (Woody Allen, 1979) (ref)

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