You're under the gun at all times because it's live TV. A lot of time, between dress and air, you're having to come with an entire ending to your sketch that gets an even better, bigger laugh - which is terrifying... People are filing into the audience, and you're writing a new joke for the end of it.
I feel a big obligation to the audience, almost in a moral sense, to say something useful. If I'm going to spend a year of my life on these things, I want something that I feel that strongly about.
Poets have to be sensitive to their audience, but it does not mean that they censor themselves. I realise my audience is diverse. Some will read with empathy and curiosity while others will take offense.
Let an audience be able to find it themselves without spoonfeeding it.
When you work with a legend as I do, it's wonderful. There's so many things I've learned working with Keith. He's so patient, not only with me, but with everyone in our crew and with the audience and with the game. He has a style that is so easy and will never be copied.
I never heard nobody in my audience call me any kind of names.
The magic in performing as an entertaining ventriloquist happens when the characters come to life and the interaction between the separate personalities on stage becomes 'real.' Then don't forget that the act has to be funny, and to me, being funny and entertaining any given audience is more important than anything.
I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in the playing of a character.
I believe that given the audience attention level, we could do an even more compelling 90 minutes.
If you have a recital to do, you have to memorize the songs. I never use music when I do recitals. It produces an instant barrier, both for yourself and the audience.
My first book, 'Fast Forward', was about growing up in the shadow of Hollywood and how kids are affected by the culture of materialism and the cult of celebrity, and I've often felt the reason my work has an audience in the U.K. is because it's everything the British love to hate about the Americans.
Everything in horror film is about transgression, and the young audience wants to touch something that is forbidden and is, by function, anti-establishment. It is a way for young audiences to express rebellion and also to deal with very modern fear but in a very playful way, in a very symbolic way.
I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.
I had a hard-scrabble childhood with my parents. I have a lot of baggage. To come down to the footlights and accept the audience's affection inside a Broadway theater - that didn't come easily to me.
My general take on American music since 1969 is that it's just getting stiffer and people are getting more uptight - audience, performance, and palace guard.
The great thing about celebrity culture is that they can't seem to stop themselves from displaying their ridiculous behaviour. I feel it's my job as a serious investigative journalist to witness all kinds of behaviour and then report back to the audience through the prism of my own anger and bitterness.
I like pushing the envelope. I like pushing myself and the audience, whether it's a TV show or live. I like to throw people over the edge of the cliff and scare the wits out of them, but then pull them back and make them safe.
Royalties are not how most writers or musicians make their living. Musicians by and large make a living with a relationship with an audience that is economically harnessed through performance and ticket sales.
I don't think fashion week will go back to what it used to be because people are realising that the industry is completely changing. It's not just in Bryant Park any more, people are figuring out who their audience is, where they want to show, they aren't really playing by the rules. It's not so much about these editors, these buyers.
We need more extreme movies in Sweden. Personal projects that are necessarily made for a bigger audience. I think it creates a creative lock-up to have the audience as a goal.
Acting is all about relating to the people on stage with you, even in plays that break the fourth wall. Clowning, for the most part, is the opposite. If somebody in the audience sneezes, I can count on it: I don't even have to look at Shiner; he'll have his handkerchief out. It's all about all of us in the room together.
I think they will feel refreshed because I cater to a mature audience.
If someone has an ability to impress an audience there's a tendency to be tempted into doing just that.
My skirt fell off on stage during a performance of Hairspray on Broadway, revealing my fat suit over my own natural fat suit. I turned to the audience and said, 'Now you know why I spent six years in a square.'
If you don't spend the time you need on developing characters and finding stories, complicated stories, the audience gets tired because they think they're seeing the same thing again and again.
We love the Stooges, and young kids today don't watch them. They think it's their dad's comedy. So we thought we could reintroduce them to a new audience.
But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That's why I call it the most social of the various art forms.
I wanted to introduce a contemporary Asia to a North American audience.
If the audience, in minute 50, is thinking about the way a movie is shot, there's a problem. I want it to permeate emotionally.
I started to understand that for me, art was no longer about self-expression but about creative engagement with the world. I started to respond in an excited way to making work inside an industry and not feeling the constraints of audience expectation as some kind of thing that I should avoid.
If you ask questions that interest you, you'll get answers that interest your audience.
Obviously with the Internet and increased access to other means of watching shows, the audience has dispersed and is all over the place and that is a challenge.
The Broadway audience is made up of a greater percentage of tourists now. There's not nearly as much variety and danger and challenge in what's being offered.
A comedian needs to have his own filters, needs to know his audience, how far he can push things.
The Food Network and the Cooking Channel have so many viewers. And, because there's no violence, some of that audience is children. So, I think we have a responsibility to educate parents how to produce healthy meals for their families.
If there's an audience, I think they're going to expect me to be funny. But what if I'm not funny? What if I fail?
