What looks absolutely fabulous in rehearsal can fall flat in front of an audience. The audience dictates what you do or don't change.
I think the way the audience takes the Indian film-star is a little different from the way the audience takes the Western star there. We are considered like demi-gods here, and the reason is not because we are better or good, but because there is no other mode of entertainment in India.
My American gay audience have continued to dance and sing to the music I make in a way that straight Americans haven't. I am grateful to them for that.
The larger your audience, the smaller your vocabulary and range of referents - the fewer your means of expression. You can't rely on the luxury of intimacy.
Usually when I'm making a movie, what I have in mind first, for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn't quite been in before.
If an American audience is given a serious musical theater piece that is well produced, dramatically gripping and wonderfully acted, they'll respond to it.
Yes, bad or mediocre ballets can be useful to the dancers and temporarily fun for the audience, but in the long run, the lowering of standards can only erode the art form we all love.
The one thing an audience always has in common with a comedian is troubles. The Yiddish word for that is tsuris. You're always putting your tsuris on stage whether you like it or not. No one is untroubled, unless they're just, you know, an imbecile.
I give a facial expression in a moment of silence for audiences to react to what I just said and kind of let that marinate with the audience for a little bit. I enjoy the physical part of the comedy as much as the verbal content. People tend to gravitate to not only what they're hearing but also what they're seeing.
The audience plays a huge part in how a piece will actually form. They really allow the performers to walk a tightrope in a way that never seems to happen in the privacy of your own four walls. I'm listening to the audience, and they're listening to me.
'Hard Boiled' is my last film in Hong Kong, before I moved to the U.S. It is the one film which is most accepted by the audience in the West.
Not every movie has to serve as every audience member's need for completion.
A politician's words reveal less about what he thinks about his subject than what he thinks about his audience.
It's the adrenaline rush you only get from being in front of an audience. It's addictive.
Rehearsals and screening rooms are often unreliable because they can't provide the chemistry between an audience and what appears on the stage or screen.
The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.
Somebody has to be on stage, and some people have to be in the audience. That's the only difference. Don't put any thought as to why you are on the stage or how you need to be 'better' than the people in the audience. You aren't better. You're simply the speaker.
We're not going to pierce everything that we have and paint our faces trying to get a different market. We'll grow with our audience. We're just going to keep doing what we do.
Since we didn't use guns, we wanted to make sure we could earn the ability to win the audience over by making it believable. A lot of what you do when you work out in that mode is use your mental energy.
I think there's a far more general audience now because I've done more populist stuff on telly.
It's just a fact of life. Everybody grows up and goes through changes, and our audience has seen it all.
There have been a bunch of Indian films in English that found an audience.
We simply write the kind of music we enjoy most and hope that our audience will enjoy it too.
There's something about being in a house with an audience, and having that immediate feedback. I started acting because of that energy; it's what feeds me on stage and informs my choices.
It's always more interesting to make a movie about what is relevant in your society. What's the political global backdrop? What are our threats? What are we vulnerable to? Because that's what an audience vibes on - that is what people are interested in, universally.
Now I can broadcast to an audience of several million people on the 'Today' programme. I can talk about the day's news. But on radio, believe it or not, we have notes and scripts. And while we might ad lib the odd wryly amusing asides, they come at the frequency of a suburban bus. About one every 90 minutes.
I'm usually pretty good in front of a live audience. I usually like that.
I would not be happy to do what I do unless I felt that the large audience wanted it.
It's those moments, those odd moments that you look for and sometimes by creating this kind of loose atmosphere you find those little moments that somehow mean a lot to an audience when they really register right.
The perception of the audience is the interesting part. If the audience doesn't hear what is going on, is it going on or not?
If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play.
When onstage, I always try to take my audience through as many emotions as I possibly can. I want them to go from laughter to tears, be shocked and surprised and walk out the door with a renewed sense of themselves - and maybe a smile.
I suspect that authors who start their careers writing for an adult audience - and who eventually produce a young adult novel or two - are more common than authors who begin by writing for young adults and who then gravitate toward composing something for an adult audience.
Film is a dramatised reality and it is the director's job to make it appear real... an audience should not be conscious of technique.
Action is drama. If we cannot make the audience laugh, smile or cry with us, we are not actors.
I've been interested in art and fashion for as long as I can remember because they are so visual. I am fascinated by the idea of visual creation from the ground up, which is a challenge in ballet when the audience has seen every show of yours, every other principal that you've shared a role with, and every different production.
