Audience Quotes
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I find that the British audience listens and they accept the performer for its value, value as a singer, as a vocalist, value as a performer. You're only accepted if you're good.
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Sometimes a scene can elude you, and then, you also learn that the small moments are really what you're after. A big broad moment that gets the crew laughing, usually isn't going to translate to an audience.
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You're trying to bring a character to an audience, and tell stories. That's what we're all trying do.
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With 1,000-seater venues, rather than 5,000-seaters, there are richer opportunities for sucking the audience in.
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If you individualize an audience, it helps up the stakes of your responsibility to that audience.
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I want audiences to look at adolescent delinquents with greater understanding and more compassion.
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I have no problem with bands using participant financing schemes like Kickstarter and such. I've said many times that I think they're part of the new way bands and their audience interact and they can be a fantastic resource, enabling bands to do things essentially in cooperation with their audience. It's pretty amazing, actually.
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I have 60-plus videos on YouTube and over 30 million views. Of those 60, only three or four are branded videos. I built that audience by telling stories the way I like to tell them.
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The audience I'm targeting doesn't care about the language spoken in the films they watch. They're interested in more important things like story, performance, cinematography etc.
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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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Being yourself is the most important element for me, because, if you're trying to be something you're not, the audience will pick up on that.
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I don't like to play the same set every night. I think the band would prefer the same 12 songs, to be honest, but if I get bored, then I think the audience gets bored too.
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A masterwork. A particularly American magic realism that touches the heart of race and childhood in our country; it's 100 Years of Solitude for an entire generation of American Baby Boomers, and deserves the widest possible audience.
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The great thing about sci-fi is that the fans and the audience are unlike any other genre out there. They are constantly looking for great content and good stuff. They don't care where it comes from, they'll latch onto it.
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The film is a romance with songs and dances, aimed at a family audience.
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As filmmakers, we want the audience to have the most complete experience they can. For example, I interviewed Stanley Kubrick years ago around the time of '2001: A Space Odyssey.' I was going to see the film that night in London, and he insisted I sit in one of four seats in the theater for the best view or not watch the film.
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A tale may have exactly three beginnings: one for the audience, one for the artist, and one for the poor bastard who has to live in it.
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You want the audience to be uncomfortable.
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When I lose touch with the audience and the reality of what life really is, I'll be Vanilla Ice or something.
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At every concert I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It's like making love. The act is always the same, but each time it's different.
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Unpredictable action is movement's equivalent to a page-turner in literature. On stage, we have certain options to make our moves appear surprising or even shocking. One choice is to remove transitions. We try to construct motion hunks, hunks of action that could be missed if an audience member blinks.
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The person who writes for fools is always sure of a large audience.
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The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.
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The only line that's wrong in Shakespeare is 'holding a mirror up to nature.' You hold a magnifying glass up to nature. As an actor you just enlarge it enough so that your audience can identify with the situation. If it were a mirror, we would have no art.
