I love being on stage, I love being able to tell a story, I love the fact that the audience listens and laughs at it. It makes me happy, and it's what I live for.
I think you should make a movie that has an audience.
'Inside' was the second LP album of a comedian's performance before an audience.
I have this very abstract idea in my head. I wouldn't even want to call it stand-up, because stand-up conjures in one's mind a comedian with a microphone standing onstage under a spotlight telling jokes to an audience. The direction I'm going in is eventually, you won't know if it's a joke or not.
It costs so much to promote something these days that almost always safety is the preferred option, reference back to things which have been successful in the past. Also, people are simply not given the time to develop and find themselves and their audience as we were.
The sheer force of the music calls for a wild audience reaction.
I open with a clock striking, to beget an awful attention in the audience - it also marks the time, which is four o clock in the morning, and saves a description of the rising sun, and a great deal about gilding the eastern hemisphere.
Showing your movie to an audience... it's like your kid doing a piano recital. 'Just let it not fail. Please.'
I grew up on the side of the stage. I never had a fear of an audience. I never felt like they were separated from us. We were all in the living room, and it happens to be a big living room. I continue to operate on that assumption.
It makes sense that whatever the topic is, it's more compelling if you can provide the audience with a range of perspectives, and you can cross disciplines. And you don't have to control what people take out of it.
The best way to make your audience laugh is to start laughing yourself.
I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all. I think it's important to keep the audience interested. But the best advice that I've gotten is to live in the moment.
Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.
I don't want to be able to see the audience.
I think that talented people really do have insecurities, and that is one of the things that kind of motivates them, because that's one thing they know they're good at. And when they're up on that stage, you can do no wrong. The audience is yours; they're there to see you.
I tell my staff, we're riding a tour bus around, and we're going to stop and look at some weird stuff - but we're taking our viewers around safely. They're just looking out the window at it. I'm trying to create a sense of comfort for my center audience.
And we had the perhaps unfair advantage of not having to worry about what an audience was gonna think. We were in a vacuum. We were making little short films, really.
I always try to be very human in my performances and hang out with my fans. It is cool to be a celebrity, but at the end of the day I want to empower my audience and say, 'Hey, I am just like you.'
There is always a mix of apprehension and excitement before you try songs out on a new audience.
If I get a hard audience they are not going to get away until they laugh. Those seven laughs a minute - I've got to have them.
The only reason we wore sunglasses onstage was because we couldn't stand the sight of the audience.
Most of my career has been about standing on a stage performing music to an audience, and once the show is over, they go home and I go on to the next show.
When you're doing a series like this, you're constantly looking for new ways to excite your audience.
I may be a star in the South, but when I go to Bollywood, I am a clean slate, a white paper. Whatever the director makes of me is what I will become for the audience.
Starting out, they told me: 'You're a good-looking guy. We'll put you in this role, and you can be a conduit for the audience into this side of the story.' But I've grown up, and that's not what I want anymore. My concept of the job I do has evolved. And it is a job, nothing more.
You have to assume that you're talking to the most intelligent, tuned-in audience you could ever get. That's the way you're going to get the best out of people. Whether they know you or not shouldn't matter for comedy. They should get to know you pretty quickly. and they should be having a good time pretty quickly.
And that's what the audience was feeling too, as they watched the show and as they watch it now. And overriding all of that is the way it was written. It was written honestly. There was never any manufactured laugh. There was never compromising of character.
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
A good teacher, like a good entertainer first must hold his audience's attention, then he can teach his lesson.
When I look out at the audience at some of our shows, I think we are reaching a younger audience... I see lots of people in their 30s and 40s, but I also see a lot of people in their young and middle teens, and that's definitely reassuring.
I don't think you can be successful in television without appealing to women. I don't think it's possible. I think that men like women. It doesn't really matter what they do - they love anything. But women don't necessarily like every woman, so I think that's a challenge to get the female audience to not only relate to you but also like you.
Listen, wait, and be patient. Every shaman knows you have to deal with the fire that's in your audience's eye.
I'll get to the force field of this hostility, why it's there, why the rage is in any of us, why the trash takes place, whether or not it's between me and a couple of hecklers in the audience or between this country and another nation, the rage.
I like the idea that my audience doesn't see what I do as controversial.
Most people didn't have the bandwidth to download whole albums. And so it brought back this cherry picking idea that the audience would focus on certain songs and possibly be the impetus behind what eventually got on AM radio: the single or whatever.
You see, 30 years ago I didn't have near the audience I have now. My tapes on the cults have reached a circulation of 15 million. those are not my figures but the figures of the people who distribute them.
