Audience Quotes
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I love the rehearsal process in the theatre, and the visceral sense of contact and communication with a live audience.
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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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For me, the most exciting thing is to create good magic that's entertaining for an audience, and it would be lovely if a magician was fooled as well.
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I'd love to go back and do theater. There's nothing like that instant response and the connection to a live audience.
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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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The question if this is a work of art or not is not very interesting for us. Probably it is situated in between the established categories. Anyway the audience which is interested in art would be the most open-minded and willing to think about it.
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The feeling you get from playing to a good audience is hard to describe without sounding as though you are talking silly. But reaction is important. You might feel in yourself that you're doing it ok but it's when you get the live reaction that you know you're doing it right.
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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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The world is full of bands and bullshit, and if I'm doing a stupid art project like rock 'n' roll then I want to spare my audience as much as possible.
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The best way to get your audience larger and more consistent is to be more divisive and more radical and criticize those who cater to or kowtow to other forces.
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My father, good or bad, mistakes or no, had a direct line from his heart to the music to the people, to the audience. He played with logic and his own inner truth.
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I'm the first to poke fun at myself when it comes to the hair. I even ask the audience 'hands up who had big hair in the 80s?'.
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I really like intimate venues because it feels like everyone in the audience is in on all our inside jokes. We could say things and people will catch them. That couldn't happen at a festival because nobody would catch it. I also like that in a smaller space people can be talking to each other and listening to the music; they don't have to be watching you the whole time.
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When I watch a film, I watch only as an audience and only later I might analyse it.
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Don't try to be just like some other singer hitting it big - find your own style and be honest in your performances. And never underestimate your audience.
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The audience is not your boss. They are your collaborators and when you collaborate with someone you don't have to listen to everything they think or say.
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I ultimately have faith though, that good films will find their audience.
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The best thing about a platform like YouTube is that it helps musicians all around the world to reach such a vast audience.
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You can try to reach an audience, but you just write what comes out of you and you just hope that it is accepted. You do not write specifically to a generation.
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Musicals are — particularly musicals — plays also, but musicals particularly are… the last collaborator is your audience, and so you’ve got to wait ’til the last collaborator comes in before you can complete the collaboration.
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I've been lucky. I've had this history of having an appeal to more than one type of audience.
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I like getting requests from audience members.
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When you play a smaller, more intimate venue, you can have real conversations with your audience, take risks, and stay current. You can also change the set list, on how the day feels or how the audience reacts. When you do arena shows, every arena looks and feels the same. You can't see who is in the room.
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If for the sake of a crowded audience you do wish to hold a lecture, your ambition is no laudable one, and at least avoid all citations from the poets, for to quote them argues feeble industry.
