Audience Quotes
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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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I like to work around identification for the audience, and when there's a grown-up or a moral figure or something like that, people tend to go there.
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I think the U.K. is an amazing place and has been extremely good to me. Some of my favorite and most-listened-to bands are from England. I have met many good people there and have been in front of some of the most loyal audiences I have ever encountered.
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Even though L.A Confidential box-office was a fraction of, say, Titanic or the Grinch movie, it finds its audience and will continue doing so for who knows how long, because of the basic thing we love about movies, which is storytelling and performances.
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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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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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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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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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It's the band that really counts and not our egos. Egos probably destroyed more bands than anything else did, and that's something we want to avoid at all costs. We want to give the audience something real, something spectacular, and if it would be about egos, it would hardly be worth their time.
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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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I'm just not made for that kind of live audience where you don't create a fourth wall.
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I always feel the audience is my best teacher.
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As an actor, you hope to find roles that are challenging to you as an artist. Then if you are truly blessed, you will find that it also carries a message that you can impart to your audience.
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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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There's another thing that you don't want to take for granted, and that's the reality of there being an audience there each night. It's pretty amazing that that can happen around the world.
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I dislike The Exorcist, and I found it a warning sign of the dangers in a furious cinematic talent putting the audience through it (a Hitchcock phrase) without purpose, or without the nagging moral anxiety that activated Hitch. You see, I don't think William Friedkin believes in the Devil, or cares about him. I think he found exorcism a pretext for a gross-out and he calculated there was an audience for it, or a crowd ready to be challenged. Maybe I'm too much of an atheist to stand religion being so thrashed.
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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'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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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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The art audience is very receptive to what I do. It's a mutual influence.
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I am just glad that I can take the music to the people who want to hear it. I love my audiences. I am deeply indebted to them for giving me the chance to sing my concerts, make records, and do what I love. Whatever people call it, it is great to have a voice!
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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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Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.
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My music already has this oldish kind of quality to it, like you don't necessarily know what era it was recorded in, so it all kind of felt surreal and weird. Night after night when I played live, I was really trying to figure it out in real time, and I still don't know what effect I'm going for or what effect I actually achieve. Looking back, I feel like it would be arrogant of me not to appreciate the fact that I've been able to do whatever I want and still have an audience come see me.
