My family is my biggest critic. Since they come from a non-filmi background, they give me an audience's point of view. They have been very supportive of me.
Sometimes it takes a while to find that perfect balance between knowing who you are, what your sound is, and building the right team to make that happen. Once it all really comes together and it makes sense, both for the audience and your fans, there's no stopping you.
I have always thought it was important to maintain some connection for myself to what it takes to make a song work by myself, to put a song across to an audience by myself.
If I'm excited about it, I'm pretty sure an audience is going to enjoy it. If I'm bored with an idea, you can bet they're going to be asleep. So I try to only do things that I'm fairly excited about.
For a lot of people, film is still the dream - the captive audience in the darkened theater - but I love TV. I think it's fantastic.
I've spent days in cinemas answering questions from the audience, in interviews, travelling abroad, and all they do is thank me nicely.
You know, when I put out records that may not work or connect with the audience, it's because I'm pushing myself as an artist creatively, because I'm just bored doing what everyone wants me to do.
I wanted this to have as wide an audience as possible. I didn't want to get an X rating, because in my opinion once that happens you X-out everyone else.
There was a point in the '80s when I looked out at my audience and I saw people that - were I not on the stage - they'd sooner slug me as they walked by me on the sidewalk. And I realized that I was way beyond the choir.
'Emeril' came on the air right when a new president of NBC was taking over, and there was just a big shift going on. And then 9/11 happened, and that really pretty much killed it, because the show was already having a hard time finding an audience. I don't regret it. I had a really good time.
I'll eventually go back to theater because the feeling of being on stage where you have the audience right there, you can't replace that with anything.
I am attracting a new audience now, one that is more open and more spiritually inclined.
I am thrilled to become international 'Vogue' editor at Conde Nast International, which has a real commitment to journalistic excellence, and to have the opportunity to write for a wider global audience through the 'Vogue' websites.
You can't second-guess your audience. You can only do what you think is right. If you do that, your audience will appreciate you.
If you are not on TV, you don't really exist. I want to bring my comedy to the world and tell my story to a bigger audience.
If you look at romantic comedies as pieces of commerce, the audience is looking for wish fulfillment.
It's rare that you cut out something that is really good. You screen all of it, and when the audience doesn't respond, you cut out whatever is holding the story down.
The wonderful thing about Food for Thought is that it lets you keep your hand in theater and be in front of a live audience without a commitment of six months, or even three months.
There is no such thing as a Mass Mind. The Mass Audience is made up of individuals, and good advertising is written always from one person to another. When it is aimed at millions it rarely moves anyone.
If you go on TV and say there's no other country in the world where you can be born poor and become rich, you get a huge megaphone. If you tell the truth, which is that most of the studies show actually the United States is worse than anybody except Britain in upward mobility, there is no audience for you.
My audience is going to die before I do.
You do a clean show and it's over and the audience have enjoyed themselves and you've enjoyed yourself, and you haven't had to resort to shock.
I think theater and church are so relatable because it's traditional call-and-response in the way that an audience interacts with the actors.
On the stage, you have to find truth, even if you have to lose the audience.
I could be winning the decathlon in high school, which I've won twice, yet, if my dad is in the audience, 'Oh look! It's Anthony Quinn.' And I'm like, 'Hello? Kid just got a gold medal. Hello? I'm over here.'
I find the whole situation of confronting an audience terrifying.
I also think the relationship I have with my audience is a lot more complex than what Hitchcock seemed to want his to be - although I think he had more going on under the surface as well.
In comedy, though, it's good to get feedback from the audience about what they find funny.
It's so easy to manipulate an audience, but it's nearly always clear that you are being manipulated. I think even people that are not critically attuned are aware of cynical manipulation in film.
After The Silence of the Lambs and Hannibal, the audience would like to know where, when, and who arrests Hannibal Lecter for the first time. This is the story of Red Dragon.
My parents had this incredibly vital relationship with an audience, like muscle with blood. This was the main competition I had for my parents' attention: an audience.
But my question is, am I compromising by adapting my words for the audience and where is the line beyond which I am not adapting words, but changing my position?
We like Batman - we understand him, we suffer with him. On the other hand, we want to be Superman. But they're conflicting philosophies. Let's bring them together in one movie and see how we, as an audience, wrestle with our inner demons.
The camera is not your eye, and it's not the eye of the audience. I don't think it's my eye, either. It belongs to the film.
I always challenge myself. I get out in deep water and I always try to get back. But I get hung up. The audience never knows, but that's when I smile the most, when I show the most ivory.
You get the feeling that on a lot of days the audience for most music would kind of rather not be faced with the artist, especially because we've been educated to think that the artist are these special creatures are otherwordly and aren't like us.
