The original idea was to make it easy to publish content on the Web and find an audience. What we learned from publishers is that the thing they want the most is more readers and more revenue.
I never think about the audience. If someone gives me a marketing report, I throw it away.
Anyone who says they want to make a game that becomes a cult classic is kinda screwy, right? I mean, you want to reach the largest audience you can.
I love my lecture tours. I get up onstage. I have my stack of books and a glass of water and a microphone. No podium, no distance between me and the audience, and I just talk to people and get all excited and tell a lot of jokes, and sing some songs, and read from my work and remind people how powerful they are and how beautiful they are.
The electronic media introduced this idea to the larger audience very, very quickly. We spent years and years and years meeting with activists all over Europe to lay the groundwork for a political response, as we did here.
I gotta admit, when you've been doing this a long time, going out to the audience and asking for them to help out with crowdfunding, it's a gut check. You never know how that's gonna turn out. Luckily for us, it turned out well.
As a standup performer, I'm onstage, and it's important how the audience is looking at me. I'm looking at whether they're leaning forward or not, those types of things. You read an energy. And it's the same thing in a scene with other actors.
I've noticed that the more adventurous and in that mode that I am, it seems that the more the audience really likes it.
I took a break so that I can entertain my audience properly.
What's interesting to me is how many vampire/urban fantasy authors are writing young adult series as well, often set in the same world as their adult books, but focused on a younger audience.
Whenever I have given lectures to a large audience before, I have always looked for an ending that gives a 'wow' feeling.
'Deity' will be a compelling and exciting thriller with complex and interesting characters. A neo-realistic style to story and images will take the audience deep into Calcutta's many different levels. A fascinating clash between American and Indian culture.
You're in front of an audience and thinking off the top of your head - you're going to say things that offend people sometimes. Sometimes I'll be driving home, and I'll be like, 'Oh, crap, I shouldn't have said that.'
I started out as a dancer as a kid; I've been dancing since I was 4. So, performing was always part of what I was. I don't know if it I enjoyed the response I got from people or if I liked having an audience, but there's something in me that wanted to perform.
You can't instruct an audience to laugh, but what you can do is read well and understand the spirit and subtleties, if there are any, in the dialogue.
With an audience it's now, there are no editors around. It's just me and the audience and it's what I like best.
You can't explain the feeling of singing hit songs to an audience - it's like being a genuine sports star at the peak of their powers.
I'm at my best when I'm being genuine and sincere, and reading my material straight up to an audience that wants to listen.
For the finale, I thought the audience deserved to get a close point of view on the monster, and to recognize him the way you recognize the heroes of 'True Detective.'
I think that a lot of things are hard to read if you're not in the vocabulary flow of that particular discourse. I sometimes forget that even though the words I'm using are fairly ordinary words, the concepts around which they cluster, which are the long concepts of literary tradition, may not be familiar to an audience.
I have no concern with widening audience.
I did a 'Golden Girls' once, which shot in front of an audience, and that went well. I had a good time. But I need an audience, for comedy at least.
We started to have more women and little girls in our audience, where it started to be 40 percent female that sat in our live audience. So I think, when that was happening and the women were stepping up and saying, 'Hey we can do what the men do,' and then you saw it on a reality show, it was just inevitable for us to have this women's evolution.
I was so terrified before an audience that I would break out in these ugly red hives, and my lips would quiver at the sight of a word or a song.
There is something about the stage that makes it so much better than being in the studio. I always connect with my audience; a concert to me is a collaboration between me and the audience, and I love it so much.
We have been deformed by educational and religious institutions that treat us as members of an audience instead of actors in a drama, so we become adults who treat democracy as a spectator sport.
The whole thing about writing a play is that it's all about controlling the flow of information traveling from the stage to the audience. It's a stream of information, but you've got your hand on the tap, and you control in which order the audience receives it and with what emphasis, and how you hold it all together.
More than any audience in the world, Americans will cross their arms, stare at you and say, 'OK, whaddya got?' - no matter how many times you've proven it to them.
There's an appetite for vigour in films. The camera loves a bit of movement. Movement is usually attached to younger people and men, and that's just the way it is. I think that it's a bitter pill to swallow, but it's a fact that there aren't going to be masses and masses of roles for older women because there isn't the audience for it.
When I write a book... it's the same essential approach to music as with books. It has to be something I want to hear or read. Hopefully the audience comes along, since that's the only way you can write righteously. I have to ask, 'What do I want to hear?' not 'What do people want to hear?'
I come from a theater background, and if you're doing a play, your audience is right there, and you're able to have that one-on-one experience. Doing more TV now, when fans come up to me on the street and talk to me on social media, that's a way to bridge that gap.
As a film actor, you don't often get that opportunity to meet with your audience and take your applause on stage.
The world is a slightly better place for having improvisation in it than it was before. There's something about it that says something positive about the human spirit, that a bunch of people can get together and by following a few simple traffic rules can create art and can entertain an audience and can thrill and exalt each other.
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to. It has a much more percussive rhythm to it.
I think sometimes when you're working consistently in film, and maybe this is just me, but you do feel quite dislocated from your audience.
Now an audience of more than 1 billion people is only a click away from every voice online, and remarkable stories and content can gain flash audiences as people share via social networks, blogs and e-mail. This radically equalizes the power relationship between, say, a blogger and a multibillion dollar corporation.
