Audience Quotes
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Journalism is very much public writing, writing with an audience in mind, writing for publication, and frequently writing quickly. And I know that when I worked daily journalism it really affected my patience with literature, which I think requires reflection, and a different kind of engagement.
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You look out into the audience and you see so much joy on people's faces. You make eye contact with people who are almost crying because they can't believe they're seeing the Rumours five back again, they can't believe their eyes. It's almost like a family reunion on stage, there's no angst, there's no animosity, there's just tremendous amount of friendship.
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I like working with directors because I'm really opinionated about what things work and may not work, what audiences like and may not like, (not really) but I do have opinions about things. I like to be able to say them and then have them acted on. The director who responds to me like that, always gets my appreciation. I do appreciate it. What I find is the best directors, no matter what kind of name they have, are like that.
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I never wanted to do something grotesque. I never wanted to shock. I wanted my audience to be happy, to be kind.
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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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It was nerve-racking to begin with but once I started and the audience accepted it I relaxed. It has been surreal.
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I'm a firm believer that character is highly overrated. Character is a trick that we do with the audience's collusion.
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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 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 can't just reprise the news. You have to have journalism that makes a point and you have to be in sync with your audience.
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It might be an idea for all literary critics to read the books they analyse aloud - it certainly helps to fix them in the mind, while providing a readymade seminar with your audience.
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When I miss a week in practice, my audience knows it. When I miss a day, I know it.
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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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Shared world has done some world building and brings (in the case of FR and SW) a big audience. With your own work, you're more creatively free. In a way, the shared world stuff has a high floor but a ceiling.
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The weakness of cable news is that it chases its audience around. Your audience wants fast-paced, popular news. It needs real news. Cable news changes its stripes based on audience reaction. Viewers are reacting well to breaking news? You probably do more breaking news than you need to. The struggle is building something so that people will come to you, as opposed to constantly changing what you are because you're unsure of where the audience is.
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Usually with this genre the first thing that happens is a good fight sequence to show that you're in good hands. So we broke that rule. I think a lot of that comes from the western audience.
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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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I felt like I was seeing it with the audience it was made for,
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When the kids are laughing in the audience, I tear up, I'm so happy I did a nice thing.
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Still,[...] in all forms of comics the sequential artist relies upon the tacit cooperation of the reader. This cooperation is based upon the convention of reading and the common cognitive disciplines. Indeed, it is this very voluntary cooperation, so unique to comics, that underlies the contract between artist and audience.
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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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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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Everybody has they're own audience you know what I'm saying. I write rhymes and make music for the people that I fell wanna hear my music. They write rhymes and make music for the people they feel wanna hear they're music.
