Above all, ignore the audience.
When we started, we knew the show was going to be hit or miss, and we needed to find a core audience to really make us survive. And I think we've been able to do that.
I love to entertain an audience.
For anyone who works in front of an audience there is no thrill quite like that of feeling and hearing the evidence of the audience members' enjoyment. Laughter and applause really are powerful.
The BBC were not playing the music that was happening on the street so we did an independent production because we knew we had an audience. Then we licensed the album to EMI.
I would love to do more on the stage; having actual contact with the audience is great. You can give them a good seeing to!
Yes, I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.
Audience response to The Man From U.N.C.L.E. back in the '60s - well, I was frankly surprised by the show's success and the attendant publicity for David and myself.
There are endless anxieties in putting a film together, and it's an enormous relief when you know it's working with an audience.
In my career, I really set out not to develop too strong a persona so that you wouldn't have a hard time imagining me in any given role. I wanted to pleasantly confuse the audience on who I was.
I'm trying to avoid having regrets about missing opportunities. That would be the worst thing. Like having an audience waiting, and not working hard enough, and coming out with a record that disappointed them.
That's the great thing about incubating something on the web: you have the potential to go to other platforms. Every single platform has a different audience that you find.
I don't get the romances. I did try - a film called 'Roseanna's Grave' in the 1990s. I liked it. But the audience didn't come.
Something happens when you feel that energy and excitement from the audience. And you do, I don't know, four pirouettes. You jump higher than you ever have. And it's just this really magical thing that happens in those moments.
I'm not sure exactly how gossiping about my life with my audience really helps them.
You've got to find a way to relate to people. I just did an improvised episode for Joe Swanberg's new Netflix show, 'Easy,' and it was a huge learning curve for me and taught me so much about fear and courage. But when you're present in the moment, the audience, it's incomparable.
As an artist, it feels good that we've created something that is connecting with the audience, which is what we always strive to do.
From the moment I saw 'Camelot' as a kid, the organic inclination of performing before a live audience is raw and visceral. Once you're out there, there's no yelling 'Cut!' or any such thing as a do-over because that moment has passed, and you're in it as it's happened and gone, sharing it with everyone.
The only thing that really matters in the initial part of my career, the worst mistake I've ever made was try to do things to please the audience thinking how the audience is going to respond if I do this.
I have the ability to sing with emotion and feeling, but if you say I sound like Billie Holiday, that's cool. Let's look at who Billie was: she was this person, this singer, this beautiful diva who could move the audience with the slightest gesture of her hand.
I get a lot of inspiration from the audience feedback to our live shows.
With my plays, when the lights go down, at least the audience isn't thinking, 'Oh, God, two more hours of this.'
Comedians sometimes forget that there's an audience. You gotta be conscious that you're performing for other human beings.
You have to be dope; you have to find an audience and reach that audience with your identity and your message.
Horror of any kind is dependent on a certain amount of insecurity and paranoia from the audience. And it feeds on that and works on that.
Luckily for me, I genuinely like my audience. They really are a good bunch.
A musical, like most religions, provides the audience or followers with a sense of belonging. Religious services, on the other hand, with their staged performances, invigorating songs, popular wisdom and shared experience, are almost a form of community theater.
Whether you're an opera singer, a legislator or customer service operator, there is a way that we can find common ground with our audience - be they young or old, Democrats or Republicans, rich or poor, religious or secular.
'Rocket Science' is really where I fell in love with filmmaking, I think 'Camp' was incredible, but it was so bizarre, and I was trying to find my footing in this world where you don't have an audience for immediate validation.
I'm not performing anymore. I reveal myself to the audience. I reveal myself. That's the show now.
Ben Affleck exec-produced a documentary for HBO called 'Reporter' about my 2007 win-a-trip journey. I take the trip each year partly to encourage young people to think about global humanitarian issues: I think blogs by a student may be more compelling for that audience than my own work.
I realized that 'performing' was what I wanted to do when I did my first professional gig as a dancer with my company 'Synergy' in Canada. I was overwhelmed with how it felt to perform in front of an audience.
My seventeen years of teaching inform my sense of audience in every line I write.
In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
The show I did in England catered to a broad range of people. I like that. I don't want nouveau cult status, though I know we've got that sort of audience in the states.
Well, news is anything that's interesting, that relates to what's happening in the world, what's happening in areas of the culture that would be of interest to your audience.
