Audience Quotes
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I don't think of writing my poems for China or for the world. I mainly think of a small audience of friends and people I know. I am writing for that small group. They are not necessarily going to be able to read it, but that's what I have in mind when I write.
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The only difficulty is that I'm playing to two audiences, and it's too bad the noise detracts from the show, because it's a great show. I've seen my own self out there, and it's a very good musical show. Sometimes the show gets lost in the hysteria and sometimes it doesn't.
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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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In any big spectacular, it's really difficult to have enough voices to cover all the vocal parts. To give the audience the complete experience they're expecting, there is some reinforcement, some playback that everybody's hearing. Sometimes it's background vocals, but sometimes it will be actually vocal tracks. It's so hard to ensure, with no safety net ... you're not gonna get another shot at it, you have to have stability. I think it's very naïve of a lot of people to think that when you see someone open their mouth, they're really singing.
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We have an architect in the audience who designed one of clubhouses at one of the golf courses. It's a beautiful facility. It immediately was put to use. And Donald Trump wouldn't pay what the man needed to be paid.
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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.
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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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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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I'm not one of those kind of people who does the observational 'Hey, don't you hate it when you're at the grocery store and the line's long and the cash register starts taking too long.' I don't really do that kind of stuff. I'm heavy on persona, and I do a lot of interacting with the audience.
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I don’t think I have really imprinted on the audience as any kind of character, including a serious or calm one. So I want to play a similar character one more time, but one where I can really make an impact, before moving on to try different roles.
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In any event, the proper question isn't what a journalist thinks is relevant but what his or her audience thinks is relevant. Denying people information they would find useful because you think they shouldn't find it useful is censorship, not journalism.
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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'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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Now we have an audience that is so very eclectic. Big, tremendous fans.
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When I'm in the audience of Broadway shows, I feel like I'm in the presence of something really special with artists working at the height of their craft and doing the best work that they possibly can.
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When you're making the record, you're not thinking about an audience, but you still need them and you want them.
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If you can't get your core audience to watch the show, it's very hard to then pull in enough people outside of your fan base to your network. The networks are just so branded now; USA can't really do a dark despairing drama and FX can't do a blue-sky show. People watch the networks they watch.
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There's no better way to learn something than to learn it in front of an audience. Your terror drives you.
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When you're a performer, of course you want an audience, but it's very, very different from courting fame.
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You've got to cater to the audience and have some flexibility. I don't want to box myself in. I want to make music that I like, and I like a shitload of music.
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Let me guess,” Eli said, his voice that low, even timbre, as always. “Drinking from kegs also falls under outdoor activity.” I just looked at him, standing there in jeans and the same blue hoodie he’d had on the first time I met him. Maybe it was the embarrassment, which had been bad enough before I had an audience, but I was instantly annoyed. I said, “Are we outside?” He glanced round, as if needing to confirm this. “Nope.” “Then no.” I turned my attention back to the keg.
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When I'm onstage, I'm more in the audience in my head than I am on the stage.
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I firmly believe lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you have costume, story, acting, orchestra.
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A lot of my research time is spent daydreaming - telling an imaginary admiring audience of laymen how to understand some difficult scientific idea.
