A director should not define everything. For me, the movie is a form of a question I pose to the others or to the audience. I want to ask their opinion on my point of view and discuss it with them.
There are some who speak well and write badly. For the place and the audience warm them, and draw from their minds more than they think of without that warmth.
The way that you present yourself visually totally dictates your audience and everything that anyone thinks about you.
People never think of entertainers as being human. When you walk out on stage, the audience think, ‘Nothing can go wrong with them.’ We get sick and we have headaches just like they do. When we are cut, we bleed.
I don’t know the names of any pop musicians. Pop music is standardised; it’s made to please the largest audience possible. I also compose to please a large audience, but when you listen to my music, you understand that I have studied and applied the whole history of composition.
When you’re onstage and the audience is smiling and singing and bopping along and you’re all on the same level, it’s the best feeling in the world. It may sound dumb and corny to say it, but it’s like pure love.
Scam’ gave me a national or I would say global platform which made me a household name. I am getting such a lot of love, appreciation, and acceptance from the audience and makers and that’s a very satisfying feeling.
The challenge at this point is helping a brand understand they’re not just commissioning a viral video but tapping into an existing fan base and an audience that’s very loyal… It’s two brands working together: the Rhett and Link brand and their brand.
I’m thrilled to have a completely new audience that I can get from Court TV, without it being my own trial. That was the only other way I would have gotten it.
If you want to make an audience laugh, you dress a man up like an old lady and push her down the stairs. If you want to make comedy writers laugh, you push an actual old lady down the stairs.
I’ve done a lot of theater in my time, and in rehearsals, you’re like, ‘Well, we find it funny,’ but until you get it in front of an audience, it’s really hard to know.
I don’t want to be a grumpy old man or too pessimistic, because if I have a chance, I would prefer to watch a film in the cinema with an audience on a big screen instead of watching it on a cell phone. It’s a very different experience, but somehow I think this form will have its own future and life.
That’s the nice thing about being a live act. I can get the audience, but it’s for the moment. It’s like, ‘Can I do it tonight?’ And you can see when people like you. But on record – and with the pen – it’s almost for all time. Really, a lot more thought has to go into it.
When I perform onstage, I’m actually kind of nearsighted, so I don’t have any real, true understanding of what the audience is like.
The other thing that has made playing live for me more enjoyable is the audience. I never knew I had such heartfelt, loving fans.
If you can mix glamor and gags, then you can catch the audience twice over.
The performance of Carnatic music is multi-dimensional and layered. A performance is at once an artiste’s cathartic process of personal exploration and an open energy exchange with the audience: a release and a conversation.
Whether you are a star kid or not, it all depends on the actor and how he/she can get the audience to the theatre.
I always like to break out and address the audience. In ‘The History Boys’, for instance, without any ado, the boys will suddenly turn and talk to the audience and then go back into the action. I find it more adventurous doing it in prose than on the stage, but I like being able to make the reader suddenly sit up.
I love kids, but they are a tough audience.
Every audience has its character; I like America – they love me. I suffer from stage fright, but in America not so much.
If I’m selling, I want them all selling in the audience. If I’m coming back, I want them all coming back. If I’m bleeding, I want them bleeding. If I win, they win. If I lose, they lose.
You want an audience. If you didn’t, you wouldn’t be a writer. The biggest motivation to write is the knowledge that someone will read it.
Basically, radio hasn’t changed over the years. 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.
You never want your second act or the whole movie to just be this relentless march towards its goal. You want things to take the audience by surprise.
You really have to be careful with the clues you lay into the film – if they’re too heavy-handed, or you’ve pandered to a slightly stupider audience, then you’ve spoiled it for the people who are even slightly smart.
I have sung for Americans of every political persuasion, and I am proud that I never refuse to sing to an audience, no matter what religion or color of their skin, or situation in life.
I’m always prepared for the worst. I was prepared to have the book come out, sell seven copies, and have to keep working in advertising, so it was just great that it was received so well and by such a huge audience.
A movie is made for an audience and a film is made for both the audience and the film-makers.
Since we didn’t use guns, we wanted to make sure we could earn the ability to win the audience over by making it believable. A lot of what you do when you work out in that mode is use your mental energy.
Standing ovations have become far too commonplace. What we need are ovations where the audience members all punch and kick one another.
I don’t think actors should ever expect to get a role, because the disappointment is too great. You’ve got to think of things as an opportunity. An audition’s an opportunity to have an audience.
There is a difference between a voyeur and a tender witness. Maybe I think the audience is more of a tender witness than a voyeur, which has a shady undertone.
I have a lot of respect for people who are great at ad-libbing and for writers and directors who are able to create a scene in which that works. Judd Apatow is fantastic at it. But as an audience member, I like the sound of something that’s been written – I like it to sound written.
The applause from the audience gives me a high. Probably that’s what has kept my love for theatre intact.
My public image is so low-key, but I get to travel the world and still have an audience and it’s really amazing. I don’t take that for granted.
There aren’t a lot of entertainment-based mediums, the visual or recorded mediums, that empower the audience to go off the next day and create it themselves. You can’t watch a movie or a show and the next day say, ‘I want to make that.’ You have to go to school.
I’m living my life for an audience of one. I live my life to please God. And I believe if He’s pleased, that people like my mother and my daddy, my grandparents, you know, my husband, my children, they’ll be pleased.
I love the story of Quasimodo, about someone who feels like they don’t belong but is pure of heart and has good intentions. It’s a great message for a younger audience.
The success of the storytellers – we’re only as good as what we can withhold from the audience. Aspects of surprise and letting things play out for the audience – it’s so much a part of their enjoyment. It’s one of the great things about working in the movies and being a great storyteller.
Take my wife… please. I’m not saying she’s ugly, but when she went to see a horror film, the audience thought she was making a personal appearance.
As far as aging on screen is concerned, I am sure the TV audience don’t go by stereotypes – they have evolved and become smarter over the years.
Of course, all my films are high on comedy, but I ensure there’s something for the audience to take back home.
I have to visualise my jokes, live my jokes, feel the audience because every audience is different. It’s like having a different dancing partner every night.
I’ve always been a fan of a Johnny Carson because he was so great with an audience and not afraid of self-deprecating humor.
The problem with trying to make a film good and have it work for an audience is the problem of trying to tell a story well. The shape or the color of it doesn’t matter.
Music is a kind of magical thing, and you can’t make magic every time, but you try. Every once in a while it has that magic, and the audience knows that. I probably miss it more than I hit it, but I think that’s what all musicians try for.
I am tremendously excited to introduce a unique ‘Metal Gear Solid’ experience to a new audience of gamers as well as collaborate with my mentor in game design, Mr. Miyamoto, on ‘Metal Gear Solid: The Twin Snakes’ for Nintendo GameCube.
If we just stick to one kind of music, our creativity is limited. We wanted to extend the audience for the cello, especially the younger people, and to show them how cool and how powerful and how diverse the cello can be.
The hardest thing to get is true emotion. I always believe you need to earn that with the audience. You can’t just tell them, ‘Ok, be sad now.’
Educators shouldn’t be afraid of cliches. You know why? Because kids don’t know most of them! They’re a new audience. And they’re inspired by cliches.
I love the intimacy of TV. I love the fact that you don’t necessarily have the pressure of an audience or anyone around watching it – just you and it.
