Audience Quotes
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I don't try to communicate with my 'audience'. I don't bother with that any more. I used to try to have conversations with people, but it's futile.
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Never having thought of writing for the guitar, I asked Julian Bream for a chart which would explain what the guitar could do. I managed to write some rather pretty pieces for him, except that the first six notes of the first piece all need to be played on open strings. So when he begins to play the audience will probably think he's tuning the bloody thing up!
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Being black, I'm involved in the reparations movement. It's focused toward the African-American audience. We could begin to heal.
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Opinions are like nipples, everybody has one. Some have firm points, others are barely discernible through layers, and some are displayed at every opportunity regardless of whether the audience has stated "I am interested in your nipples" or not.
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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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One thing that's been a great, uplifting experience through all this is, since the first "Pirates" movie, the people who've gone to see the films, the audience members. You meet people on the street - whether they're 5, 25, 65 or 85 - they've all had the same experience, and they've all enjoyed it. So that's what keeps me moving forward in this crazy process.
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Many people have complained that Imagined Communities is a difficult book and especially difficult to translate. The accusation is partly true. But a great deal of the difficulty lies not in the realm of ideas, but in its original polemical stance and its intended audience: the UK intelligentsia. This is why the book contains so many quotations from and allusions to, English poetry, essays, histories, legends, etc., that do not have to be explained to English readers, but which are likely to be unfamiliar to others.
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Despite all the technical improvements, it still boils down to a man or a woman and a microphone, playing music, sharing stories, talking about issues -- communicating with an audience.
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My goal in writing for teens and tweens is to help my audience feel inspired and empowered today, to find their voice today, to believe that they can truly design the life of their dreams...today. I mean seriously...why wait?
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If you give an audience a chance they will do half your acting for you.
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You perform for a different audience each night. People who don't understand just think that you go out there every night and do the same thing, but you don't - you have to find out who they are and give it to them.
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Nothing has really changed. We had bootleg albums in the '60s and today we have Internet file sharing. They just found a better way to do it -- get music for free. What's great about today is an artist has an opportunity to go direct to their audience without dealing with a middleman. People can go directly to the web for CDs, DVDs and downloads. I think that's the best thing that's happened, that people's music is being flashed around the world.
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An artist cannot be responsible for what people make of their art. An audience loathe giving up preconceived images of an artist
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Frank [Zappa]'s music was never for the mass audience. His music contains specific kinds of information that you won't find elsewhere in rock and roll.
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When I first started doing my comedy act, I just desperately needed material. So I took literally everything I knew how to do on stage with me, which was juggling, magic and banjo and my little comedy routines. I always felt the audience sorta tolerated the serious musical parts while I was doing my comedy.
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Everyone talks about discovery, but I really believe that great content finds its audience.
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I was always the lead role in plays. I like entertaining people. I like when you're on stage doing crazy stuff and the audience gets it.
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Try to find the right balance of keeping things exciting and treating your audience with respect, and also treating yourself as an artist with respect.
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As an actor, early on, you learn that the audience is never wrong. And if you think they are wrong, you need to find a different way to make a living. Collectively the audience is smarter than you will ever, ever be.
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You see, the interesting thing about books, as opposed, say, to films, is that it's always just one person encountering the book, it's not an audience, it's one to one.
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As long as I can make that audience one thing, one unit, then I'm okay with it. But, sometimes, the bigger the audience, the weirder it gets.
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You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.
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That's the hard thing - getting started. You get started for a long time until you finally get to this point where people call you an icon or whatever they call you. It's nice. Suddenly the audience is with you more and they help you along and it's not so much that you have to do everything.
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I took a break so that I can entertain my audience properly.
