Audience Quotes
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If you address yourself to an audience, you accept at the outset the basic premises that unite the audience. You put on the audience, repeating cliches familiar to it. But artists don't address themselves to audiences; they create audiences. The artist talks to himself out loud. If what he has to say is significant, others hear & are affected.
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I'm still a fanboy geek. I always will be. In many ways, if my work still resonates with the audience, it's because I'm still writing from the point of view of the fan, so I'm geeked out constantly.
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MTV was completely unaware of it. It was not my intention that it go as far as it did. I apologize to anyone offended - including the audience, MTV, CBS and the NFL.
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I knew I couldn't sing over them, so I decided to sing under them. The more noise they made the more softly I sang. When they discovered they couldn't hear me, they began to look at me. Then they began to listen. As I sang, I kept thinking, 'softly with feeling.' The noise dropped to a hum; the hum gave way to silence. I had learned how to reach and hold my audience -- softly, with feeling.
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There can be no revival when Mr. Amen and Mr. Wet-Eyes are not found in the audience.
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In a theatre it happened that a fire started off stage. The clown came out to tell the audience. They thought it was a joke and applauded. He told them again, and they became still more hilarious. This is the way, I suppose, that the world will be destroyed-amid the universal hilarity of wits and wags who think it is all a joke.
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With Patreon, it feels like I have an audience now who really appreciates everything that I want to do and who are quite flexible and curious about it.
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When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It's an extraordinary thing. It's wild turf up there.
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I like European movies because it seems those audiences are a little more patient. Those movies are always slower, where over here, the studio system freaks out if something doesn't happen every five minutes or if anything is confusing.
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I think the notion of traditional anchor is fading away - the all-knowing, all-seeing person who speaks from on high. I don't think the audience really buys that anymore. As a viewer, I know I don't buy it.
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There are so few shows that are willing to take risks with their characters in the way that 'Homeland' does. And yet, the audience still comes back and loves those characters.
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I reached the stage where I was afraid to wiggle my leg, but then I thought 'why shouldn't I?' It's what I do and now I know how to turn an audience on again.
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There's probably a way to use that great content and to live under the radar now and then in order to reach a new audience. That's the thinking I'm talking about.
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For better or worse, I've become the person the Adams Estate has entrusted to guide Dirk Gently into new mediums and to new audiences. I take that responsibility pretty seriously, which is, I'm guessing, where Ilias's comment about me being a "hands-on collaborator" (code for control freak) comment comes from.
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Audiences grew to like this duality of feeling, where youre both championing a character and youre revolted by them.
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Ninety percent of films are pretty mediocre, but they have a built-in audience and open on 3,000 screens.
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I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.
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That's really what keeps me playing live - appreciation. And I guess I've made a lot of wiggle room for myself to try different things and discover what I'm doing, and the audience accepts it.
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Sean Chen has been an audience favorite from the early rounds. With his floppy hair and outstanding stage presence combined with an extraordinary technique and musicianship, this is little wonder.
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I'm so language-based and I'm so about communicating, and my art has always been very audience-based, and very about being functional and communicating something, and about feeling like I have to be heard.
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When I perform, it's very personal. I'm sharing things I like, inviting the audience into my room.
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Podiobooks rules. It's still the best way I know to find an audience for longer works in any genre.
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The Japanese seem to be a loyal audience.
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We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.
