I always thought I was a good person, a decent person. I never harassed anyone or touched anyone. And you say to yourself , ‘Oh, that’s good enough,’ but yes, I had certain jokes that I always assumed the audience would understand. This is Persona.
I work hard for the audience. It’s entertainment. I don’t need validation.
There’s a tendency to make more money at concerts. That’s from a financial standpoint. Night clubs have a better feel, better contact between the artist and the audience.
Secretly, I’m in awe of Broadway performers. I would love to perform at that level. I love the exchange with the audience. I love being able to sing and dance to express your emotions and the community and friendships that are formed when working on a theater piece.
We’re given this platform and this voice and this audience. We can either use it for ourselves or we can use it to bring awareness to issues that are going on in the world. I’m definitely on the side of using that microphone for good because you can touch so many people.
I can’t imagine working without an audience.
In Paris and later in Marseille, I was surrounded by some of the best food in the world, and I had an enthusiastic audience in my husband, so it seemed only logical that I should learn how to cook ‘la cuisine bourgeoise’ – good, traditional French home cooking.
I felt that the elegance of pop music was that it was reflective: we were holding up a mirror to our audience and reflecting them philosophically and spiritually, rather than just reflecting society or something called ‘rock and roll.’
I’ve attended many concerts where I felt let down and I was wishing it would be something else. Not that it’s their duty to please me, but at the same time, I think a lot about what it’s like through the eyes of the consumer, the fan. I want not to pander to the audience, but to be aware of them.
Baby boomers don’t go out as much, they aren’t interacting with each other and they would rather stay home and watch TV. That’s the audience for a guy like me, unless I’m doing ‘Bad Santa.’
The audience loves when the comedian talks to them. You’re creating inside jokes, which creates a community.
It wasn’t so much that I was all alone on stage, but it was the realization of how much you need the response-you need the audience to tell you where to go.
We try to connect with the audience as much as we can. We feel the energy from the audience, and it gives us so much joy and inspiration.
I love what I do, and I love the audience, and I love the fact that I get to do it, and I love, I love our craft very, very, much, and it’s a noble craft. We have a responsibility to it, and to the audience, and to the playwright, and to the message. I won’t ever care less.
The applause is a celebration not only of the actors but also of the audience. It constitutes a shared moment of delight.
I liked working with Tom Christopher as he was great as Hawk, and Wilfred Hyde White but I wished it were in a different context as the changes really tuned off the audience.
Most horror films are made very cynically, and they’re usually made by studios for an audience that they know is there, no matter what they put out. And there are always exceptions – every year, it seems we have a great one coming out.
Our job as actors is to just try to be as accurate and as mindful of what the audience is going through and receiving and processing.
I won’t miss Grissom. It was a complete life for me that’s reached its end, and it’s reached it in the right way, I think. So I won’t miss Grissom. And I hope that the audience won’t miss him either.
Well, all the plays that I was trying to write were plays that would grab an audience by the throat and not release them, rather than presenting an emotion which you could observe and walk away from.
In a live performance, it’s a collaboration with the audience; you ride the ebb and flow of the crowd’s energy. On television, you don’t have that.
I love hearing my audience breathe.
I just want the audience to see that the performances are a real representation of myself.
We should never overestimate an audience’s culture, but we should never underestimate their intelligence.
Build a lifestyle around your brand, and the audience will follow.
When you don’t talk down to your audience, then they can grow with you.
There is no such thing as a Mass Mind. The Mass Audience is made up of individuals, and good advertising is written always from one person to another. When it is aimed at millions it rarely moves anyone.
By laughing at me, the audience really laughs at themselves, and realizing they have done this gives them sort of a spiritual second wind for going back into the battles of life.
I love theater work because of the immediate effect your performance has on the audience. And I love the repetition; I love getting on the same stage for more than a month and reciting the same lines, trying to make a small or large step towards an improvement in my acting.
I think it’s an actor’s responsibility to change every time. Not only for himself and the people he’s working with, but for the audience. If you just go out and deliver the same dish every time… it’s meat loaf again… you’d get bored. I’d get bored.
I always prided myself on at least trying to be literate and use the right words, and if the audience didn’t get it, then they could go home and look it up.
Violence and nonviolence are, after all, two different forms of theater. They both depend and thrive on the response of an audience.
Can you design a Rorschach test that’s going to make everyone feel something every time – and that looks like a Rorschach test? It’s easy to show a picture of a kitten or a car accident. The question is, how abstract can you get and still get the audience to feel something when they don’t know what’s happening to them?
When you’re playing in front of people, everything is external. It’s all going from you out to an audience. When you’re in a studio, it’s very internalised, it’s going from the air through you into this meticulously crafted, layered piece of work.
Comedians sometimes forget that there’s an audience. You gotta be conscious that you’re performing for other human beings.
In most films – especially in regards to the protagonist – really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
I think the film is beautifully realised. His legacy as a journalist was recorded – as it were – well, and certainly the important issues of the ’50s – or even today – are delivered and presented to the audience in a rather honest and objective way.
It is a really bizarre feeling to perform for, like, five people. You get so much energy from an audience, and when it’s just five quiet people at a table, that’s not the same.
When you do ‘Before Sunset,’ you know while it’s a limited audience, there was a very small group of people that love ‘Before Sunrise.’ You feel a certain pressure to make sure that you uphold a level of quality that has been a bar. You set a bar and you have to at least match it.
Putting out a book is absolutely a lesson in vulnerability because it doesn’t matter how much of an audience you have. Some people who have giant audiences can’t sell books because those audiences don’t feel like they need to give them their money.
Every night when I go out on stage, there’s always one nagging fear in the back of my mind. I’m always afraid that somewhere out there, there is one person in the audience that I’m not going to offend!
I’m obsessed with giving the audience something they don’t see coming.
There’s nothing like spending an evening with an audience every night.
I test the limits of myself in order to transform myself, but I also take the energy from the audience and transform it.
I didn’t feel like gymnastics were part of The Cars. I certainly philosophically didn’t want to prod the audience to react to anything. To me, it was more like negative theater. We didn’t really talk to the audience. I didn’t see that being a part of this band.
I get to hear the really good or the really bad things in the press, but I don’t read it. I can afford to say that because public opinion does not drive U2’s audience.
If it is something that I want to do, then I don’t think the audience will hate it. Unless I turn into a megalomaniac and start thinking that Salman Khan can do anything.
I work from a deep sense of insecurity. I have the belief, and I can’t shake it, that there are endless reasons to turn the channel. There are hundreds of channels and entirely other things to do besides TV. And if you make a bad television show there’s no reason for the audience to come back the following week.
Some people think big audiences are crass and that, say, a comedy that appeals to a wide audience is pandering. Other people would argue that you could say that about Moliere.
To bring a large audience to a piece of serious music and make it accessible does not mean reducing it in any way. And I’ve learned that if something is good, even if it is a little difficult, people will get that it is good.
Johnny Rotten. He’s a big fan of mine. I used to see him out in the audience in England and he’d stand up and holler. He’s funny. Smart too, and a nice guy. Don’t think he’s a jerk because he isn’t.
TV is such a great medium in what it can do in terms of enlightening an audience. We can really inspire and teach people about other people. That’s a powerful tool, and that’s something that the arts has always been capable of doing.
