For the great speakers, it's all about the audience. And the feeling they have is that they're giving a gift, of maybe knowledge or inspiration or motivation.
I'm sure there's going to be some material from This Is Not Going To Be Pretty. I usually use that song to just introduce myself to the audience, although the patter in between the song is always different.
It doesn't matter if a critic pans or praises my movies, I am only concerned about that one audience member and what their experience is.
Well, I'm half Australian, half English and I live in London. That is the only reason I came upon this story. My Australian mother, Meredith Hooper, was invited in late 2007 by some Australian friends to make up a token Australian audience in a tiny fringe theater play reading of an unproduced, unrehearsed play called 'The King's Speech.'
Your purpose is to make your audience see what you saw, hear what you heard, feel what you felt. Relevant detail, couched in concrete, colorful language, is the best way to recreate the incident as it happened and to picture it for the audience.
I see everybody arguing about what the value of music should be instead of what I think the bigger conversation is, which is that music has value, it's subjective and we're moving to a new era where the audience is taking more responsibility for supporting artists at whatever level.
The thing that is incredibly helpful is that we screen the movies and we ask the audience if they like it or not and we ask a lot of questions and do testing on the movies. For comedies, at least, it's very helpful. If they're not laughing and they don't say that they loved it, then I have screwed up.
When I was a young comic just starting out, I was very cautious, as I didn't want to alienate people. George Carlin's bravery became a benchmark. I became perfectly fine with alienating some people in the audience. That just comes with the territory.
On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.
Some people think big audiences are crass and that, say, a comedy that appeals to a wide audience is pandering. Other people would argue that you could say that about Moliere.
When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.
Certainly, I, as an audience, am stricken with terror if I see only two people onstage. And one person, I think, is even harder for people to take.
At least in America, the narrative is I'm a Cannes favorite. But, in fact, I've had my best experience in Venice, both with the audience and the jury.
I loved the idea of touching base with an audience.
Whereas 'Avatar' and other movies get shocks out of their three-dimensionality, 'Gatsby' is going to be about inviting the audience into this larger-than-life drama, letting them almost be inside the room rather than looking at it through the window. I think it will really work.
I'm writing in English; I'm writing for a Western audience, but the people I'm surrounded by in my daily life are mostly non-white.
Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.
A really great reception makes me feel like I have a great big warm heating pad all over me. People en masse have always been wonderful to me. I truly have a great love for an audience, and I used to want to prove it to them by giving them blood.
We don't really need reviewers, just first-night reporters who will tell us faithfully whether or not the audience liked the show.
The most important thing is that you don't bore the audience.
Gangster movies are the inheritor of the Greek tragedy: it's the only genre where the audience will be disappointed if there's not a tragic ending.
I don't think today's younger audience... would even know what 1920s musicals were like.
I always like to break out and address the audience. In 'The History Boys', for instance, without any ado, the boys will suddenly turn and talk to the audience and then go back into the action. I find it more adventurous doing it in prose than on the stage, but I like being able to make the reader suddenly sit up.
I've always been really involved in figuring out who my audience is and how to reach them.
Reading a poem aloud to an audience is gestural as much as precise.
There's something about that relationship between actor and audience. Whether you get it on Broadway or in a fine local playhouse, there's no greater drug. Every time I get to do TV, film and a play in the same year, it's my dream come true.
I think the atmosphere of a Prom concert can change your life, in the best way. It's so deep, the feeling you have there. The audience is so close, and there are so many of them, that you feel they are almost embracing you.
There should be an element of mystique between the fans and the artist. That bit between the stage and the audience. I think that's necessary.
I specifically remember doing the musical 'Sweet Charity' at Stagedoor. I was playing Vittorio Vidal, which is a very funny part, and some other small roles. I couldn't really sing that well, but there were so many fun bits, and I just remember the tremendous adrenaline rush I felt from being onstage and hearing the audience enjoying it.
I think that the one thing about 'Parenthood' is that, while it's never been a huge out-of-the-box hit, it's always been solid. We've always kept our audience.
Nobody was listening when I learned how to play music. But there's something about being on stage, talking to the audience, looking at them and smiling, that's always been difficult for me. I'm a lot more comfortable now, but there are still moments of awkwardness.
That audience is there for me.
People always say, 'Who is your audience?' and I could never put a finger on it - and I wouldn't want to put a finger on it.
You have a new audience for every show. Even though you do the same thing all the time, you gotta keep it fresh for yourself, and you gotta keep it good and interesting and something you want to do. I'm anxious to have a really terrific act. Whatever it takes it takes.
I feel that in horror movies, especially, if you don't care about the characters, you've lost the audience. No one cares, and it becomes a process of watching people get killed.
There are some who speak well and write badly. For the place and the audience warm them, and draw from their minds more than they think of without that warmth.
