I don't mind the audience identifying me with Red.
Being black, I'm involved in the reparations movement. It's focused toward the African-American audience. We could begin to heal.
I love mythology and folklore, and I respect the time, money, and opportunity that a film gives to an audience. It's a chance to empathize, reflect, and learn, so I really want to understand before I sign onto a project: 'What's the potential of this thing? What are we seeing and learning? What are we empathizing to?'
I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.
Stadium rock and commercial rock are the opposite of what poetry needs. An audience of around 200 is ideal for poetry.
I don't believe in elitism. I don't think the audience is this dumb person lower than me. I am the audience.
Yes, I mean, There's nothing like it. There is an added sense of pressure because of that, but there's also nothing like the thrill you get being in the same space with that audience right there and then. And when you do it, it's over.
You need the audience to become invested in the characters and in order to become invested, they need to identify with the characters... and that's why the characters need to be real.
People are used to seeing kids jump around. You know, the target audience, the audience that's spending money on music, like rock and hip-hop - they're used to seeing people get really physically involved in their music.
A musician cannot move others unless he too is moved. He must of necessity feel all of the affects that he hopes to arouse in his audience, for the revealing of his own humour will stimulate a like humour in the listener.
When I go to my live shows it's often a multigenerational audience, a family bonding experience.
I've always wanted to make Australian art interesting. To get a different audience watching art documentaries would be great.
So far as I know, anything worth hearing is not usually uttered at seven o'clock in the morning; and if it is, it will generally be repeated at a more reasonable hour for a larger and more wakeful audience.
The reality of the writer's world is that you set yourself up for future disappointment with every success that you deliver because you end up raising your audience's expectations.
With a lot of films, people are sitting on the outside looking in, but I want the audience to get a bit more intimately involved with what's going on, so that they maybe can experience it a little bit more intensely.
I didn't set out to make this kind of picture. It just came my way. But its been going on for me for 16 years now and its wonderful for an actor to work consistently. There seems to be an insatiable audience for this type of film.
I'm never at my best on television. There's a row of cameras between you and the audience, and it's very weird, very confusing.
I've learned over the years that you're going to be most successful at the things you're most excited to do. Every artist has a special set of tools. When you really use those tools, and you make yourself feel really good about the product you create, I think you'll find an audience for it. I've been very fortunate in that respect.
If something is successful with the audience, it's automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!
In music, the punctuation is absolutely strict, the bars and rests are absolutely defined. But our punctuation cannot be quite strict, because we have to relate it to the audience. In other words we are continually changing the score.
I enjoy the character interplay. Sometimes the audience is not laughing, but smiling, and that is almost just as good because it keeps them ready to laugh.
Basically, radio hasn't changed over the years. Despite all the technical improvements, it still boils down to a man or a woman and a microphone, playing music, sharing stories, talking about issues - communicating with an audience.
The hope in radio is to build an audience over a number of years, a slow build to see if something works.
You as an audience can look at these things as films, but I remember them as social experiences.
Constantly risking absurdity and death whenever he performs above the heads of his audience, the poet, like an acrobat, climbs on rhyme to a high wire of his own making.
I write books that seem more suitable for children, and that's OK with me. They are a better audience and tougher critics. Kids tell you what they think, not what they think they should think.
Miles Davis turned his back to the audience when he came out on stage, and he offended people. But, he wasn't there to entertain; he was all about the music. I kind of do that.
I fell off stage and bruised some ribs. The worst part was that the audience didn't realize I was gone.
I do an improv show on Sunday where we have a class, and then afterwards we go and do a live performance in front of an audience.
I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.
I think a lot comes from having the experience of doing stand-up comedy. It allows you to figure out the psychology of an audience; what things are funny and not.
A cult classic is one that has been fully embraced by an alternative audience, not the popular audience.
I love my camera crews on all my jobs. It's the half of the job that the audience never gets to see. They're integral. They're as much a part of making a movie or television show as I am.
When I go to see people, I always kind of hope they are going to play some kind of songs I know. So you've got to know your audience. It's kind of something that is a blessing and a curse in a way. You're obligated to play some of that stuff that people know, but I don't think that's all you have to do.
I think that one of the nice things about the Yellow Submarine movie is that it seems to be perennial. People enjoy watching from each generation. And it was like the Beatles themselves. You know the Beatles seem to find new audience each time another generation comes along.
I'd like to think my performance is today. I never try to - it's so, as you know, watching me, I have a beginning, middle and ending. But every night the show changes and I relate to an audience and I relate to the young people.
