I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.
When I first started in rock, I had a big guy's audience for my early records. I had a very straight image, particularly through the mid '80s.
You can't do psychological thrillers. There's no audience. I've heard this. I've heard this from studios.
I love the stage - the fact that you only have one take to get it right, the interaction with the audience, and how every show is different even though you're doing the same thing.
Any debut novel is usually a case of spitting into the wind - or, just maybe, casting your bread upon the waters. Without an established audience in place, first-time authors have to hope for resonant word of mouth and a receptive reviewer or three.
I have no experience performing that music live in front of an audience. So that remains to be seen. I'm very excited to see what that's going to be like.
As an audience member, I live vicariously through the characters I watch or read about. There's something very relatable about comic-book characters. They're never perfect. They're flawed people put in extraordinary circumstances.
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.
With my first few books, I was aiming at an academic audience, basically, to get tenure. You can presuppose a certain amount of knowledge; you can expect that there is this common background.
Til 1983, I wrote primarily for other psychologists and expected that they would be the principal audience for my book.
Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see.
Some of the overflow audience actually sat on the stage.
What I'm hoping is that every album I'm going to do will give my audience something different, and that they'll grow as I do.
Sometimes an actor will stumble on the joke, and I'm right on them. Back it up before the audience hears the bad version of the joke, because humor is 90% surprise. If they know what's coming, they won't laugh as hard.
I've never made a dime from a record sale in the history of my record deal. I've been very happy with my sales, and certainly my audience has been very supportive. I make a living going out and playing shows.
I don't any longer make any quality judgement between theater and cinema. They are different experiences for the audience, and they also are for the actors - although they have a lot in common.
When I'm up on stage, I don't think about anything except the song I'm singing. Anyway, the majority of my audience is female, and I can't think that many of them want to see me a French maid outfit somehow!
No one who has experienced facing a screaming, boiling, hysterical audience can avoid feeling shivers in the spine. It's a thin line between celebration and menace.
I like a movie that the audience actively has to participate in, and not just casually observe. Whatever my part in it, just as an audience member, I find that exciting.
The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.
Anything that loosens you up and makes you freer is good, because that's what acting and performing is all about - being free. It gives you a better connection to the audience.
I don't really write for an audience. I just write what the subject seems to me to require.
Tom is the most eccentric person I have ever worked with. We get on very well and I am most impressed with how he can hold an audience in the palm of his hand.
I don't want the 35-year-olds in my audience to think of me as as 'pops' giving the kind of advice that only 65-year-olds can understand.
I'll say, what makes me happy about making movies is, every once in a while through movies we find a kind of honesty. There's an honesty in fiction that's as effective or even more powerful than the honesty of our lives. We can find something that's genuinely true, like a chemistry between people or a statement that speaks to an audience.
Indeed, most magicians catch the bug as kids. My first audience was my family in Long Island. My first 'assistant' was my mother, whom I levitated on a broom in our living room.
In theatre, you've got to make the connect with your audience in the first three minutes. If you haven't, you know you've almost lost them.
With us, it's a very specific audience. If you like steak, this is it for you.
When I go in front of an audience, I'll admit I sometimes have a certain amount of fear in me, because maybe the people are not going to accept what I'm doing today. That's bad for any artist, especially if what you're doing is not in line with what's happening today.
I would hope to have some of the same audience that Oprah has earned. And I would love to earn that, as well.
I would love to do much more singing; it's just one of those things where I can't quite describe what it feels like when you're standing in front of a forty piece orchestra, and there's nothing between you and an audience but a microphone. It's like strapping yourself to a locomotive, and I love it.
I think, in music, you're always hoping that you'll have a like-minded audience and that the music you like making will appeal to them, too.
More and more smaller entities, such as Politico or TechCrunch, have been able to come out of nowhere and own entities. Dealbook, like them, now has an even greater opportunity, through additional resources, to drill down and offer even more breaking news and deep analysis of the issues that matter to our audience.
I think that's what distinguishes Schmidt, really. In the movies now, so much of what is appealing to an audience is the dramatic or has to do with science fiction, and Schmidt is simply human. There's no melodrama; there's no device, It's just about a human being.
The experience that a publication creates for its audience is the very essence of that publication's brand - and without deep engagement, that publication's brand will be weak. A good publication is a convener and an arbiter - it expresses a core narrative that becomes a badge of sorts for its readership.
The lecturer should give the audience full reason to believe that all his powers have been exerted for their pleasure and instruction.
