I don't have any ego about it, but I find there's not a great work ethic in show business. A lot of people are in it to make money, and coming from stand-up, you have to work so hard because almost nothing works, and if you lose the audience for three minutes, you're dead.
The bigger the audience, the better with comedy.
Honestly, the essence of publishing hasn't changed. Since the days of the cave man carving stuff on the cave walls, people have wanted stories, and storytellers have wanted an audience. That is still the case. The changes are really a matter of format.
Growing up in an Ethiopian household allowed me to feel like I had an audience before I had an audience.
It's very difficult to get an audience to be terrified of what's going on. Think about it: You're in a room with so many other people, so for them to be terrified and to care about what's going on on-screen takes a lot of work.
I don't feel I'm fighting to reach this huge audience; it just happens. I go on stage before the audience arrives and look out to this vast empty house. There's something therapeutic about taking in the ring where you'll perform.
You come to work and you laugh all day, you go home and you feel light and there's a certain feeling when you're sitting with the audience and they leave after 90 minutes and it's just pure escapism and they're happy.
Plus, you know, when I was young, there was a lot of respect for clowning in rock music - look at Little Richard. It was a part of the whole thing, and I always also believed that it released the audience.
If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.
Sometimes there's one person in the audience laughing hysterically, and it's so much fun. You end up playing the entire play to them.
Every person wants to stretch himself and widen his audience. Since Hollywood has got more exposure and is shown all over the world, it's obvious that every actor would want to do an English film and explore himself.
Comedy is a live art, and the only way to record a comedy rock album is to do it live. The audience and their laughter is just as much a part of the album sound as our music. No retakes, no room for error.
I look forward to having the time and the opportunity to take on new challenges, but I'm also aware that I've loved every minute of the 'Potter 'experience: to make films for an enthusiastic audience and work with great material.
There's certainly pressure to find your audience early. You need to paint the picture, but it's tough trying to find the balance between a show that people can tune in on any given week while still grabbing the people who are there every week.
The relation between a poet and audience is really insignificant. What matters is the poet is hearing something that he is broadcasting. And whether there is anybody with a receiver isn't the reason he does it. He hopes there is somebody receiving it.
Reddit has attracted a lefty, libertarian audience since the beginning.
There is a very deep conviction in the heart of the people who work in al-Jazeera that if it changes its editorial line, it will very quickly lose its audience. Al-Jazeera has its own style; it has more than 3,500 employees, and I don't think anyone will have the attitude of changing it because they will lose.
One challenge to the arts in America is the need to make the arts, especially the classic masterpieces, accessible and relevant to today's audience.
I don't like to know exactly what I'm going to do in a scene, because the most interesting moments as an audience member are moments of truthful spontaneity.
I always worried I'd forget my lines or say the wrong words or the audience would laugh in the wrong places.
I'm not the best audience for that because I'm not a great science-fiction fan. I just never got off on space ships and space costumes, things like that.
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.
I enjoy journalism; anybody does. You see the results immediately; you've got an immediate audience instead of having to wait for your audience as you do if you're writing a book, and you get a bit of money coming in, and you can see more clearly how you're paying the bills. But it's not a good position for the serious novelist to be in.
There is no buzz like performing for a live audience.
I don't think I should be telling you every 10 minutes what to think. I like to leave the audience alone with the magic. I tend to trust the material, or I don't do it.
You see, the interesting thing about books, as opposed, say, to films, is that it's always just one person encountering the book, it's not an audience, it's one to one.
Most films I work on, the people making the film are constantly second-guessing the executives of the studio, the producer, and the audience. It is very hard to accomplish anything in that situation.
In the hands of good writers, you have the opportunity to present both sides of an opinion equally and that you leave it to the audience to listen and then make up their own minds.
I want to do something that is unique, that has its own legs. But it's very hard because if you start veering off, if you get too crazy, then people won't know what to make of it. I want to please my audience, too. I want people to like what I do.
What's great about having an audience is they can let you know what they don't think is funny, and you can just cut that out and keep trying.
All of us are trying to achieve 100 percent in our work. That's all we struggle to do. We never do, but we never stop trying until the day we die. It's that struggle to achieve 100 percent, that's where our performance lies, that's what the audience gets. They get the struggle.
You've got to work. You've got to want an audience to sit forward in their chairs sometimes, rather than sit back and be bombarded with images.
I know that when I make a record like The Delivery Man as a contrast to even Il Sogno, this is going to reach a wider audience, because it communicates in that very direct way.
The waltz can be sad and at the same time uplifting. You have to see life from both sides, and the waltz encapsulates that. If you're in my audience you give yourself to me and the waltz will grab you.
Now, when I started my theater, the modus operandi was having the actors stare right into the audience.
All I want to do is make sure that art is available to all Americans in a participatory way, whether you engage in the art process yourself or you're an audience member.
