'State' can be a word that is a noun or a verb or an adverb - it's kind of why I chose that title. It's not to confound the audience but to keep me from painting myself into a cul-de-sac in the early stages of making a record by having too high concept or having some really strict set of rules I have to adhere to.
I'm sometimes a cartoonist, and there's an audience for that, and I'm sometimes an illustrator, and there's an audience for that.
There was never a push for us to become more practical... Fantasy is what our audience has come to expect.
I have a memory of this experience when I was young, watching 'Stop Making Sense,' the Talking Heads concert movie, which is one of the best concert movies ever, and I saw it in a full house in New Zealand, and everyone was cheering between songs, and you really felt like you were part of the audience at the gig.
You write for two people, yourself and your audience, who are usually better educated and at least as smart.
For me, there's nothing more valuable as an actor, or better way to learn, than getting to perform in front of a live audience, no matter where you are. Whether it's on Broadway, in Florida, or doing a tour.
I have no problem with bands using participant financing schemes like Kickstarter and such. I've said many times that I think they're part of the new way bands and their audience interact and they can be a fantastic resource, enabling bands to do things essentially in cooperation with their audience. It's pretty amazing, actually.
Through years and years of playing to various audiences, what I've learned is - and I think quite a few actors will agree with me - we're not always the best judge of that audience's reactions or not. And we discover, to our amazement, at the end of the show, they bring the house down with applause, and we thought, 'No way tonight,' you know.
People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
In Vegas, you have an audience you can't find anywhere else. It's from all over the country. You play Seattle, everyone's from Seattle. But in Vegas, you have six from Seattle, a bunch from L.A., some local Las Vegans and maybe a farmer from Iowa. In Vegas, you learn the ins and outs of holding a room because of that great spectrum of folks.
Remember, science fiction's always been the kind of first level alert to think about things to come. It's easier for an audience to take warnings from sci-fi without feeling that we're preaching to them. Every science fiction movie I have ever seen, any one that's worth its weight in celluloid, warns us about things that ultimately come true.
I love getting cheers. I love giving scares. Anything that really works with the audience makes me happy.
Some of the hip-hop stuff people get into is exciting, because there's a passion and there's something to explain to a more mainstream audience, so you get these passionate writers who want to express their love for rap and hip-hop, which is cool.
Until I got 'Full Metal Jacket,' I was doing Off-Off-Broadway plays with three people in the audience.
I really prefer the actual experience of being onstage and living the character from beginning to end with the energy of the audience. There's nothing that beats that feeling, and yet I really have trouble with the eight shows a week.
I think growing up on a farm in a certain amount of isolation, with not a lot of friends nearby, makes you entertain yourself and kind of grows your imagination - being alone is quite good for all that. You make up stories, talk to the animals, let them be an audience, a bunch of cows.
The audience should feel like voyeurs. Their response is absolutely crucial.
My motto is that the audience should notice the actors, not the clothes.
In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
I'm forever reading on the Internet that I apparently cultivate this audience and never go badly.
I use myself as the barometer to gauge what is scary. I like to think if something scares me, then there's a very good chance an audience will feel the same way.
I've never been a big fan of making telepathy to the audience. That would be too much a wink in the eye. That would make people around me fools, right?
The next time I write a play - in order to get audience trust for a particular sort of tragic line, I'll try to bring the audience a good distance before that. Part of that is allowing comic moments to occur. I had been afraid of that - that once the audience started laughing in the play, they would never stop.
The line between humor and bad taste is your audience, in which some people will find everything offensive, and some people will find nothing offensive, but the truth is that most humor originates in what would be called bad taste.
I am always excited to be an actor. If I wasn't, I would be acting, and the audience wouldn't watch me.
The reason I'm an actor and am trying to make my way in drama is to move people, to affect people, to gain a response - so these people who come up to you in the street are your audience.
My brother was a great audience, and if he liked the picture, he would laugh and laugh and laugh, and he would want to keep the picture. Making people laugh with an image I had created... what power that was!
In 'Malvolio,' the audience laugh at me, and I use that laughter to crack open the question as to why they are laughing.
I try not to put pressure on filmmakers to come up with a big scare at the beginning. I think that helps let the audience settle in and get to know the people they're about to spend 90 minutes with. Once the scarier stuff happens, it's scarier because of that.
I have seen and heard comedians who had really funny 'stuff' but yet could not make the people laugh; then, again - I have seen others whose stuff was anything but humorous, and the audience would howl with laughter.
Actors are always grabbing each other on stage, looking in each other's eyes, making a moment so private, the audience doesn't know what they're doing.
I'm not a person who likes authority. I just love the fact that it's up to me, and I go straight to the audience.
I think that if you write what you love to read, that will be what your audience wants to read, too.
I know what it is like to fear violence. I understand the adrenalin rush that comes before violent confrontations. I write my scripts from an emotional point of view and direct so the audience can experience this adrenalin rush.
A lot of cop shows, because they have the restraints of having a new case every episode, the victims often become these kind of nameless, faceless plot points, and as an audience we don't feel anything for those people.
I have a great need for affection from an audience. I don't know whether this is because I had such a tough life when I was a child.
