Audience Quotes
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It's always important to understand as filmmakers that we're not making a documentary and it has to look good. It has to entertain, because otherwise your audience will switch and watch another series. It has to look better and larger than life.
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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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In L.A. Confidential, it was great to surprise the audience with Guy Pearce and Russell Crowe - two Australian actors that they didn't know at all - and let people discover them through the course of the film.
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I don't think a movie today that captured all the things that we did in the seventies could come close, because it's like asking to recreate the seventies and the audience sensibilities and that's impossible.
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I always put in my 100 percent. Once the film is over, I look at my next, because then it's up to the audience to decide my fate.
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I've been lucky. I've had this history of having an appeal to more than one type of audience.
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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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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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Somewhere, the audience relates to my characters and their vulnerability. I believe they see themselves in me.
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I always found the Chicago audience to be a smart, fast-moving, violent and cheerful lot, and it's always good to be back.
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I realized that 'performing' was what I wanted to do when I did my first professional gig as a dancer with my company 'Synergy' in Canada. I was overwhelmed with how it felt to perform in front of an audience.
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I love breaking the fourth wall, and being given permission to play with the audience!
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Every single night I'm nervous. You never know how the audience is going to react.
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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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In fact, I learned on the Bill Maher show that I can survive the audience booing at me, the guests hating me, Sarah Silverman mocking me, that I can survive. That's a lesson right there for people on the right.
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In general, I always make it my mission to focus on the one person in the audience who seems to be absolutely miserable about being there and try to convert them.
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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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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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I think, when all bands start, when you're on your first album you have the benefit of hoovering up people who genuinely come across the music and really like it, but also those sort of 'floating voters' who just like pop music when they're young. And I think that when you get to your fourth album, those floating voters have dissipated and you're left with a core audience, and at that point you've really got to get your act together and move on to something else to keep afloat, or you'll just shrink with your core audience.
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I am particular about the seating of the audience - also about how much money they pay - but most of all where they are seated. If I am going to sing something intimate, who am I going to sing it to?
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I like being a big fish in a small pond. I'm not interested in a huge audience because it brings headaches.
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I took a break so that I can entertain my audience properly.
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The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually.
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Being a songwriter does not rely on an audience or other band members or a camera. I can just sit in a room and write songs.
