Audience Quotes
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That'll be up to an audience when they start to feel that someone else should come in and do it. Personally, I'm hoping that's a long way off.
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There are three things we need to do for a band. We need to make a great record; we need to get the record played; and we need to find an audience for the live shows.
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There is a difference when you work with actors who have worked on the stage. When we're out there in front of an audience eight times a week, you can't do it on your own.
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When scoring a film, empathy is the key. And it is just as important to use music to express the actors' emotions as it is to move the audience.
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I've never tried to reach a certain demographic of an audience or try to say: OK, now I'm going to do this type of film to transition myself into more adult roles. Or a romantic hero. Or whatever it may be.
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I'm working for myself; what else have I got to work for? How can you work for an audience? What do you imagine an audience would want? I have got nobody to excite except myself, so I am always surprised if anyone likes my work sometimes. I suppose I'm very lucky, of course, to be able to earn my living by something that really absorbs me to try to do, if that is what you call luck.
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I don't really think that audiences are that much different. I think that a fan is the same whether you are from here or from Japan - you come to a show because you like the music. I don't really see much of a difference anywhere.
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You can't but know that if you can capture the emotions of the audience as well as their minds, the play will work better, because it's a narrative art form.
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When the audience and the performers become one, it is almost nearly divine, where this oneness can actually meet in some, not physical place, but in some spiritual place, in the middle, not the performers performing, not the audience receiving, but all of a sudden that contact is made and it becomes wonderful.
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Somebody has to wear the black hat and give the audience someone to shake their fists at. They want someone to hate. And if that's what you want to pay me to do, I'm happy to do it!
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We also knew [ me and Ewan McGregor] that, on a practical level, if there was going to be that much sex in the film [Young Adam] - which there clearly had to be because sex is the meat and potatoes of the thing - it had to be varied for the audience, because it's important to keep the audience living in it.
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I remember going onstage on Broadway in this Leigh Bowery thing for a track like "Ich Bin Kunst." I've got breasts, this latex dripping down on my head, and I come out in a box. I just remember the audience looking really horrified because Rosie O'Donnell was trying to sell the show as sort of Pippin and Annie. She was saying it's a family show.
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In fact, many musicians are the happiest when the artist and audience re-interpret or re-imagine the content of the songs.
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There were times in my career ... when I felt like a trapeze artist doing dangerous somersaults without a net underneath. When you execute those somersaults flawlessly, the audience feels the same sense of triumph the performer does.
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I wish I would tell our audience that we don't hate them without sounding cheesy.
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Once the cameras rolling or the audience is in the seats, I'm on. I can't help it. I go into a trance.
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You have to know the rules, otherwise you have no tools to communicate to the audience, but to keep it fresh you have to break some. I don't choose genres as the element, but the material itself is the element, then I'll decide what genre I need. That's just how I work.
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Games are advancing in terms of storytelling and trying to create a character, and its a brand new audience for me.
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It was great fun. We had gone on tour in between the sessions and reconnected with the audience and got a lot of energy back from them, a lot of positive energy.
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I've never seen a performer create electricity with an audience like James Brown. He's got everybody in his hands and whatever he wants to do with them, he does it. It's amazing. I've always thought he was underrated.
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I was so afraid to even read a paper in front of my classmates. It is very funny because at that point my teachers would never have believed that I could speak in front of an audience of over 2,000 people.
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I love high concept movies, but they can only work if the source of inspiration is really human - if they're driven by pain and strong emotions. Once you connect the audience with that, then I swear you can take them on the craziest journey, and they'll come along.
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You don't leave the film alone. You have a new audience, and you have a new medium. Why would you leave it alone? Film is not an antique. It's not a relic. It's not a Leonardo da Vinci. I don't want someone painting over a da Vinci or Rembrandt. But these movies aren't that.
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I've always said about 50% of what happens at a concert has to do with the audience. If you play for a dead audience you're gonna stink. If we play for a great crowd we're much better. You want 'em to make noise. It's kinda like sex, if they don't make noise, you ain't doin' it right.