Audience Quotes
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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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Supporting characters add depth to a story, and great actors leave their imprint with the audience.
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I love to entertain an audience.
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Now I can broadcast to an audience of several million people on the 'Today' programme. I can talk about the day's news. But on radio, believe it or not, we have notes and scripts. And while we might ad lib the odd wryly amusing asides, they come at the frequency of a suburban bus. About one every 90 minutes.
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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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When I was first starting out, I drove myself around the country in my Honda Civic, playing anywhere that would have me. This is a chance to strip the songs down to their roots and let the audience hear them the way I write them.
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When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It's an extraordinary thing. It's wild turf up there.
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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'm almost mentally incapable of drawing a distinction between art I make for the masses, or my clients, and that I make for myself. It all flows from what gets me off, ultimately. It's my viewpoint, and I don't particularly care if it gets seen by gallery patrons, magazine readers, internet audiences, or my friends, as long as it gets seen.
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It's a world now where you don't necessarily have to be on the radio or be on the TV to be a star. Your audience can find you and find the music.
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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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Even today when I rehearse, I give it everything that I've got. If I'm in a performance and the lights go out, I glow in the dark. When you're working before an audience, you have to make them feel like they can touch you. That's the dancer within, reaching out.
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I take no notice of the trends. It has never concerned me at all. My job is to deal with what I want to deal with and reach an audience by doing so.
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I felt like I was seeing it with the audience it was made for,
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The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.
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If I think of the audience too much, then I'm going to start catering to them...and it turns into entertainment. And I've got time for entertainment; I'm just not at all that interested in doing it myself. I'd rather go for some pretty raw expression.
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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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People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great; it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.
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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.
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In my case, I take part in performance-oriented music and believe it is my call to show the audience something that both their eyes and ears can enjoy.
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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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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 films I like to watch are when they make it relatable to human audiences.
