I'm obsessed with giving the audience something they don't see coming.
I'm trying to sell every audience something; that something is me.
What was important to me was entertaining the audience, and whether that meant winning, losing, singing, or whatever it was on the live show we were doing every week, which was awesome, I was game for it.
The press seemed to take some delight that I previously had a 'straight audience,' and set about trying to destroy that. And I think some men were frustrated that their girlfriends wouldn't let go of the idea that George Michael just hadn't found the 'right girl.'
Only really good comedies and really good horror movies get a verbal response out of the audience. People will scream. People will laugh.
I've done a lot of theater, and I know that it's a different audience each time who doesn't know the story, and we have to tell it.
'Teen Vogue' is so much more than just a magazine. It's so much more than just a website. It's so much more than social. It's really about the audience, and so we're going to continue to innovate and continue to find new ways of reaching this audience in meaningful ways.
We did experiments with the Boston Symphony for many years where we measured the angles of incidence of sound arriving at the ears of the audience, then took the measurements back to MIT and analyzed them.
I'm an old soul. The blues, especially older blues, is the human element that kind of gives the music soul, and I think that maybe not enough people connect to the blues. It's a very powerful place to be; and if you can express that to an audience, I think that you can express a lot through that.
Actors who are lovers in real life are often incapable if playing the part of lovers to an audience. It is equally true that sympathy between actors who are not lovers may create a temporary emotion that is perfectly sincere.
Katalyst is a merger of three industries. A piece of us is connected to ad agencies. Because we get the complex overlay of the social Web, we know how to engage an audience and how to make entertainment for the social Web. And we know how to gain and activate and retain an audience. So we create social networks for brands.
I created this picture of this character who would play the guitar effortlessly, who had no limitations, performing beautiful music, and he moved around with great acrobatic skills, just capturing the audience and being a great entertainer.
One of the things I would like to do is make up stories that I would have enjoyed when I was a kid. So, if I'm thinking about an audience, it's usually a younger version of myself.
I know my audience, and they're not people that the studios know anything about.
YouTube has become more mature, both as a platform and as a community. So much content has been added in almost every conceivable category that there are no more free passes on just getting there first. I think there are greater expectations for audience participation, the kind of participation that makes a real impact in a show's community.
So much of selling a film in the industry is about creating a fulcrum where all the pressure comes to bear, and something seems suddenly valuable and approved by an audience. It's amazing how people could pick up tons of films on the cheap, but they don't because they wait until everything is laid out for them.
I think I have an inner confidence that my tastes are pretty simple, that what I find funny finds a wide audience. I'm not particularly intellectual or clever or minority-focused in my creative instincts. And I'm certainly not aware of suppressing more sophisticated ambitions.
It's a gamble. A band like Kiss, a lot of those are our audience but we don't do as much make-up. Alice would have more to lose if we got back together.
If the audience walks out of a concert thinking, What a wonderful experience, then we have done our job.
We have new tools that can give the audience a sense of not only being there, which is the key element in an IMAX film, but also seeing things in a way that they won't see on television or in feature films.
I'm always trying to bring unusual content to a different audience - a non-art-world audience.
Embrace risk. The driving force behind our economic model at Illumination Mac Guff is designed to preserve the opportunity to take risk. Subvert the expectation of the audience. Surprise them with unexpected choices.
I think I probably would have enjoyed to keep my own private pain out of my work. But I was changed by my audience who said your private pain which you have unwittingly shown us in your early songs is also ours.
The shows at the Hilton are the most exciting shows I've ever done. The stage is huge, but the theater is intimate, so we can have a magnificent production and still connect with the audience.
We do have our finger on the pulse of the marketplace, if for no other reasons than having all these live events and listening to our audience all the time.
I like to maintain my collection as a provocative collection that makes people think. While certainly my stamp will be visible on Black Fleece, it is meant for a wider audience.
When you make a film, you like to run it with an audience. They tell you you're narrow-minded or subjective, or that seems too long, or that doesn't work.
The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.
The evolution of art is not only driven by artists, but by a conversation between the artists and the audience.
I used to have trouble in front of an audience. I felt uncomfortable.
One reason I do the live shows - and the monthly speeches at public radio stations - is to remind myself that people hear the show, that it has an audience, that it exists in the world. It's so easy to forget that.
In all the great periods of the drama perfect freedom of choice and subject, perfect freedom of individual treatment, and an audience eager to give itself to sympathetic listening, even if instruction be involved, have brought the great results.
With the theatre, for God's sake, everything makes sense. You create a clear sequential reality for a specific audience at one particular time.
Connery made Bond real through his physicality. He did most of his own stunts and fights, and the audience knew it was him.
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.
If a magician makes a mistake, it's sometimes forgiven by the audience. If a gambling cheat makes a mistake, they will almost certainly lose their lives - and probably in a horrible manner.
