Audience Quotes
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That is definitely a misunderstanding between me and a part of my audience. To be honest, I am often unsettled by the responses some people have had to my movies, and that includes many people who like them.
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The accidents are things that audiences always remember most, I've found on my own movies. The things that they like the most are the things that were just by accident. So you have to create a situation where nothing but accidents can happen the entire time.
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It's always good to go from a heavy song to a softer one. It helps having the attention of the audience for the whole show - three hours of the same songs for the whole show is boring.
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You know, we’re not on stage, we’re not doing a play, so we don’t have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.
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I like to feel the burn of the audience's eyes when I'm whispering all my darkest secrets into the microphone.
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I'm just not made for that kind of live audience where you don't create a fourth wall.
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The matinee audiences are different because they're mostly kids, a great percentage kids. So they respond to everything differently, but I understand what they do respond to.
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Any scene that involves stripping off is hell. You just know it's going to take a day or more to get it right. It never gets any better and it's always uncomfortable, and all you can do is grin and bare it. I just pray it's never gratuitous and that it doesn't look so fake that all you hear in the audience is, 'Well, that's not really her, is it?'
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I'd rather lose the small part of the audience that is going to be insulted because a documentary shouldn't have music than the big part of the audience that kind of gives itself over to the scene.
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Any audience that gets a laugh out of me gets it while I'm facing them.
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I've learned over the years that you're going to be most successful at the things you're most excited to do. Every artist has a special set of tools. When you really use those tools, and you make yourself feel really good about the product you create, I think you'll find an audience for it. I've been very fortunate in that respect.
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You just went up and started playing, the audience got into it, and it was just a great high experience. That's what I kind of invented with "Mas Tequila" in Cabo.
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As an actor, you should always keep your trump card hidden from your audience. I want the audience to keep expecting more and more from me. I want to do 'different' work - good and memorable roles - so that audience appreciate me more. That's why I love to surprise my audience with something they never expect me to do.
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When I was younger, all I cared about was what people thought of me and my films. Now I care less about catering, hand-serving, hand-feeding the audience. I've gotten to the point now in my life where I'm serving myself.
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Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.
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The first impression a speaker makes on his audience is by his appearance and demeanor. Well-groomed or not? Self-Confident or not? Nervous or not? Paper-shuffler or not? All this and more before he says a word. The next impression is how the speaker talks. Forceful or not? Correct diction or not? Too much use of hands? Walking around? If so, too much? Any distracting mannerisms such as always shoving his spectacles back up his nose? Speaks too loud? Too soft? “Talks down” to the audience?The next impression is about what he says—the content of his talk. Are the thoughts well-organized? Or is he just “winging it?
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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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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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I love hearing my audience breathe.
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When I got to LA and was with the James Gang, I got the opportunity to write a lot, to play in front of large audiences, make some money.
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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 do not write for an audience.
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Patrick thought we should try to put an audience in front of one of the workshops, basically in front of the class and see how the performers rose to having an audience there, because he said, "You know, it's a really interesting test, because sometimes it gets even funnier."
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I worked on it [ Too Much Tuna] for a little bit downtown and it was a great experience. I couldn't believe how enthusiastic the audience was for it. It was just extraordinary. It felt like you were at a rock concert, which was just unusual for shows at Cherry Lane, which are usually intimate plays about big ideas, you know.
