I think art cannot be planned. The audience is too smart to get the dishonesty or 'too much planning' thing. I am not a legend, but I want to be one. I want to be known as an achiever. There is so much more that I can do.
And I think that we're more of an alternative act in that sense, and that flavor comes across to the audience.
I do feel almost violent when I'm watching things that I don't think are good enough. I get furious for the audience. I want to say to them, 'This play is not supposed to be like this. They've got it completely wrong. You should be electrified by this.'
When an actor gets a role, especially in series television where he really is the part, the audience never thinks of another actor playing that role. If they accept you in the role, then they can't separate the actor from the character.
The thing about the Internet is that you can write something... for a very narrow audience and make a living at it.
I spent so many years of my life as a stage actor and when you do all these plays, a lot of really great plays are very politically driven. They deal with deep social issues, and that's the kind of stuff that I love, as an audience member.
I don't think that writers have any responsibility to be good neighbors to the audience.
Well, what's interesting, I try not to think about the radio when I'm writing a song. I want people to love the song, and that means it might not be exactly thinking about the radio, but it's thinking about your audience and saying, 'I want people to like this song after it's done.'
It might be an idea for all literary critics to read the books they analyse aloud - it certainly helps to fix them in the mind, while providing a readymade seminar with your audience.
If you start writing to an audience you're talking down to them. I've never written for any age group, I just write character. If you can capture that you'll get the audiences, and it will be a wide range, as it is for 'Twilight,' it's a pretty wide range.
I was already in my early twenties, but I looked much younger because I was fresh-faced and, well, short. So I did songs such as 'Zip-a-Dee-Doo-Dah' and jokes such as describing current events as 'ancient history.' Boy, did the audience roar at that one.
I work 'cause I have to pay the bills. But I also work 'cause I love it. I don't know what I'd do with me if I didn't have this work. It's what I've done all my life. It's my motivation. It's my satisfaction. It's my joy to stand in front of an audience to sing, to come back home and write songs. Man, it's amazing for me.
I do a film if it interests me, has a connect with the audience and some entertainment value. The rest doesn't matter.
I don't categorize myself. I don't think I'm perceived as a female act by my audience. My fans include just as many men as women.
What makes a publisher decide to market a book to a particular audience is not the subject matter but the style.
Games get a bad press compared with, say, opera - even though they're obviously better, because no opera has ever compelled an audience member to collect a giant mushroom and jump across some clouds.
You have that moment just before you go on - I've had it in every play - where you just kind of want to run away. There's a whole audience, and they are waiting outside, and you're like, 'Why am I doing this again? Why? Why?'
There are only three indispensable things: the audience, the actor and the author. The rest is dross.
I believe in divine inspiration and things like that and I really relish a good, attentive, participating audience.
Acting on stage is a living organism you can never pin down, and I believe the audience feeds off that, too.
I have a problem with telling jokes about physics. Quite often the audience have no idea what you are talking about and, to be honest, I don't know what I'm talking about either.
Every audience has its character; I like America - they love me. I suffer from stage fright, but in America not so much.
The pressure is always there to do my best. I feel happy that I have an audience that looks forward to my next project. I have to make sure that I deliver.
An audience shouldn't listen with complacency.
Hip-hop is when you have crowd participation; when you chant at the audience and they chant back at you; when you wave your hands in the air like you just don't care; or some breakdancing. Everything today is just low-beat, real bass-y, bass-y, good rap records.
When you write something, at first you might feel very defensive and protective of every single thing, but after a while, you just see what works and what doesn't. Sometimes you do test screenings, and an audience tells you that, or sometimes you eventually just go, 'Let's cut the joke out.'
I would make a few jabs at myself and go for the audience - they are still as flawed as ever.
I'm definitely attracted to the idea of people that have these big aspirations that the audience know might never happen, but they're lost in them.
The open letter has always been an interesting rhetorical strategy - a way of delivering a pointed message to a specific individual or group while also reaching a wide audience.
For the first time I go to La Scala, for each thing, for each rehearsal, my knees were shaking. But the audience was very fine with me.
When no one knows you, and you're just trying to break into stuff, it's so good because you can write whatever you want and just say it; it's just between you and the audience. There's no process or worrying about anyone else interfering with what you're doing.
In the past, a lot of films based on video games think that the audience wants to experience what it's like to play the game, and that's absolutely not the case.
As actors, we have to take characters, and we have to feel for them and ultimately become them, and share that on screen so that audience feels that.
I think Hong Kong's ballet audience is very sophisticated in the sense that they are able to find the beauty in good performances.
Onstage, even though you're here together with the other actor, face-to-face, playing out the scene, you also have that other ear pointed out toward the audience and how they're listening. That informs a lot.
There's nothing worse than bad scatting, except maybe bad mouth trumpet. Mouth trumpet may sound like a trumpet, but it's really more like playing a kazoo. The instant you do your solo, the audience has a bit of a chuckle.
