I like it when you read a script and there's the part that you show to the other characters and then there's the part that only the audience knows.
No matter how many times people say it - 'Oh, I'm just writing this for myself' 'Oh, I'm just doing this for myself' - nobody's doing it for themselves! You're doing it for an audience. So whether I'm performing or writing a book or playing music, it's definitely to be put out there and to be received in some way, definitely.
Audience participation can often inject a dose of adrenalin into your average dial-tone literary reading, especially if a handful of audience-members are mentally unhinged, and let's face it - you can always depend on at least one crackpot at these things.
I think there's a little bit of a danger of a hype machine that puts forth a whole bunch of experiences that aren't great, and then a whole bunch of audience comes and don't have great experiences.
The success of 'Dhruva' has given me more satisfaction than any of my previous hits, simply because the audience accepted the film even though it was experimental. I really hope this kind of acceptance makes experimental cinema the new mainstream cinema.
Laughter's good, but it's not love. It's one aspect. One emotion you're eliciting from your audience.
Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.
I did Vibe, and I felt old and paternal. I've got ties older than people in that audience. I had a talk with myself. I said, You've got to deal with this better.
Most detective story readers are an educated audience and know there are only a certain number of plots. The interest lies in what the writer does with them.
In high school I was president of the Student Council, and I ended up doing a lot of speeches. After you do a few in front of different schools, you get really comfortable talking in front of an audience.
I put a lot of time and energy and thought behind what I do and the characters that I create, and I don't want to do anything peripheral that is going to make an audience see me up there on the screen rather than who I'm playing.
You can't pander to your audience. You might in the short term, but ultimately you can't hoodwink them, either.
I think one of the big things about comedy is the ability for the audience to identify.
The mistake people that want to be actors make is to move to New York or L.A. right away. But it's like... go act somewhere first. Be an actor. A story is a story, and an audience is an audience, no matter where you're doing it.
I still have a pretty lively audience in German and across Europe. And I continue to say, 'Thank you, God,' for making me smart enough to avoid getting hit by trucks and going out and finding myself an audience abroad. Which includes Asia - from Jakarta to Japan. Working hard at finding an audience abroad.
We write for those who get the musical jokes. But for those who don't, there is always something else going on. That's why we have such a widespread audience.
An action movie should, like any other, follow the narrative traditions of literature. That means there should be subtlety, a slow build and a gradual bringing together of all the separate threads of the plot. To see all of it coming together slowly is very rewarding for the audience.
I'm always flabbergasted and overwhelmed by the audience a film reaches.
As an author, you need to keep talking to your audience to remind yourself what they like and what they don't like. You spend most of your life locked in a room, and you need to be social occasionally.
Being on Oprah? You realize that there are a couple of types of audience members. There are like the cult people in the audience who are just crying before she gets on. And then there are the people who are playing it cool. I definitely was somewhere in the middle.
I look at myself, and I see a Spanish person who's trying to be understood by an English-speaking audience and is putting a lot of energy into that, instead of into expressing himself freely and feeling comfortable.
No matter what as an artist that's always what you want to do, you want to connect to the audience, you want to be able to send whatever message it is that you're singing about, you want to be able to convey that - and not make them feel - you want them to feel it, you want them to feel what you feel.
I have this group of friends that I'll send my scripts to before I send them to a large audience.
I can go to a movie theater and watch a movie I was in with an audience... but with television, the opportunity to meet the fans at Comic Con or any other situation, it's a chance to enter that circle; it's that sharing.
When I sing, I have to live in that moment, so my audience can feel that. That is my reason for doing art.
We have been fortunate enough to do something that has always been out of the mainstream and yet have an audience for what we do.
Comics fans want new stuff that looks exactly like the old stuff. It is hard for the publishers, and even the audience, to change something.
The way I approach any role, whether it's comedy or drama, I like to look for the truth first. I think comedy for the sake of comedy wears dull pretty quickly. You have to ground the character in reality first and allow the audience to sympathize, emphasize and be more invested.
My rejection of the idea of entertainment in its current form is based on the audience that comes with it.
It's interesting, as I said on the last tour in America, the audience actually came out, they had to have been the kind of fans who listened to my music via their parents, you know what I mean?
I need to talk about Chinese culture. We have deep, strong philosophy and culture. I want to share some information, tell the worldwide audience.
Never stop listening to your audience.
I can't understand Urdu, Bahasa or Russian, but when the Pakistani Faiz, the Indonesian Rendra and the Russian Rosdentvensky declaim, I can feel the living throb of rhythm and music, the warmth and passion of their poetry, as do the hundreds, not a mere roomful, of poetry lovers in the audience.
Musicals are, by nature, theatrical, meaning poetic, meaning having to move the audience's imagination and create a suspension of disbelief, by which I mean there's no fourth wall.
I really feel like 'True Blood' is a big, giant slice of cake for the audience every week; it's offering people 60 minutes of sometimes thought-provoking entertainment. If you're gonna give an Emmy out, you should probably give it to the audience of 'True Blood.'
When you're doing a play you get to go full speed ahead, all night, in front of an audience. It's a roller-coaster ride, responding to other actors, it feeds you.
