If the audience sees and feels things are real, then they buy it.
Feeling emotionally connected to a song, and accumulating every bit of the moment's energy to sing out to the audience is what I believe makes a great performer.
I'm always happy and most at home on the stage. I love film and television, but I love live performance... your immediacy with the audience, it makes all the difference in the world.
Magneto has a whole lot of complexity to him. Emotionally, he's coming from a very damaged place. I like the ambivalence of it. I want the audience leaving the theater wondering, asking the questions themselves rather than being spoon-fed like a lot of these super-villain characters.
There are three things we need to do for a band. We need to make a great record; we need to get the record played; and we need to find an audience for the live shows.
'Funny Games' was conceived as a provocation. My other films are different. If people feel my other films are, or respond to them as provocation, then that's quite different. 'Funny Games' is the only one of mine where my intention was to provoke the audience.
We are being entertained all the time - in the bathroom, on the train, in our beds. Sure, there is a smaller audience for theater. But we know from radio that entertainment never goes away, it just changes. And more power to it.
I think the struggle, whenever you make a film or television movie based on a real person's life, is finding a dramatic arc that will hold an audience's attention.
The long version of the play is actually an easier version to follow. In all of the cut versions the intense speeches are cut too close together for the audience and the actors.
Once a president gets to the White House, the only audience that is left that really matters is history.
I was the first one to allow a projectile to come off of the stage and into the audience. And I kind of take responsibility for the mosh pit.
We constantly run lines together before every show too, and then there's a long, traditionally long, story to tell the audience every show. Today, we're doing it twice.
I hope we're all kind of influencing each other now to keep the quality up on those things. They seem to be getting better and better and better as there's not only sort of a film geek audience, there's also a general interest in the overall film consuming population.
Tell the audience what you're going to say, say it; then tell them what you've said.
If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. You must reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.
The audience is the camera. I don't want the audience to sit and watch, I want it to move.
It is extremely arrogant and very foolish to think that you can ever outwit your audience.
I've heard people say, 'There are no bad audiences,' but that's just not true. There are people who just shouldn't be together in a room, who produce a really bad audience.
I did not want 'Battleship' to be perceived as an American war film. I wanted to do everything I could to make the film accessible to a global audience. It felt like bringing an alien component to the film would help take the American jingoism out of it.
On the monetization front, our strengthening leadership in internet user base and broadening reach of our platform have already positioned us as a must-buy platform in online video for brand advertisers to reach a nationwide audience within China.
Comedy Central is what these young people are viewing. The network speaks to their audience, which is saying, 'Give me fast jokes. Give me party stories and party language.'
I think once you've finished a movie you really have to detach from it so that you can come back and watch it as an audience member.
Anybody with a sharp brain and a mic can become a comedian, but there's a need to move beyond it. The audience wants to witness the marriage of theatre, comedy and something more.
I first visited the Toronto fest in 1979, its fourth edition, when it was known as the Festival of Festivals and had an audience of about 40,000. I happily returned to the 10-day skein nearly every year thereafter, as attendance swelled to 400,000 and it grew into the most influential film festival in North America, perhaps the world.
All I know is that as an audience member, I am less and less inclined to go to the theater. But that has to do with content and also because the venues seem to be actively trying to repel people.
Along the way I have been able to choose some themes which ask questions - not necessarily force a message on anyone, but at least invite the audience to question things: jury service, dignity in dying, Ireland - and not least because they force me to ask myself questions. Where do I stand?
When you have an idea for a work and when you've finished your model for it, for the artist it's almost complete, in a way. But then bringing it to the finish is really something you do for the audience. It is always exciting.
Where you learn things, really, is watching it in front of an audience.
What if Shakespeare had had a test audience for Romeo and Juliet or Hamlet?
But I don't mind, I'm a bit of a touring animal. When I'm on tour that is the greatest thrill for me, playing to a live audience.
Performance-wise, you really need to be down in the trenches; you need to do the hard work, for a lot of reasons: To build yourself as a performer, to get a sense of the audience, to work hard and to wonder, 'Do I really want to do this?'
All I know is that as an audience member, I am less and less inclined to go to the theater.
I hate to lull the audience into letting them think that something is something. It's always fun to defy expectations.
When writing for a mass audience, put a fact in every sentence.
I have been steadily exchanging a rock audience who were nervous about what they had just bought for a jazz audience who not only were happy with their purchase, but are increasingly coming again.
'Singham' was one-and-a-half stars all over, and it was one of the biggest hits of my career. It gave me so much respect. People think if it's not critically acclaimed, you won't get respect. But that's not true. Even if you get one star, your film will do well if the audience wants to see it.
