If you can't move the audience, they don't want you.
The audience and I are friends. They allowed me to grow up with them. I've let them down several times. They've let me down several times. But we're all family.
When the music is physically demanding, I want to make sure that the effort involved is put across to the audience through physical gesture.
All we think about is how to keep the audience engaged, and normally we're big on plot because that's the easy way to do it.
Well if I was going to describe my audience, it's going to take longer than you'd ever expect, hundreds of years in fact, because there's many of them, all over the world.
It's important to find characters that share sympathy with a young audience, not just in the story but their role in the world.
Anybody that goes to the theater, I think we're all misfits, so we ended up on stage or in the audience.
When the target audience is American teenage kids, you can have problems. My generation prized really fine acting and writing. Sometimes you have to go back to the basic principles which underpin great visual comedy.
The very fact that you thought of it means that, somewhere in your mind, it's believable to you. All you have to do is convince your audience that it's possible.
The bottom line is, when it comes to an actor and his performance, whether nominated or not, it simply has to do with whether that character had enough resonance with the audience. You know, to the filmgoers. And that something that you can't control.
These things I sample, or clip, are things that we share - music, films, sounds. It triggers a layer of participation from the audience as they recognize the material and remember it.
A good game will always snatch my attention. No matter the sport, the spirit of competition and audience is nostalgic and relaxing to me.
Never use the word 'audience.' The very idea of a public, unless the poet is writing for money, seems wrong to me. Poets don't have an 'audience'. They're talking to a single person all the time.
They're reacting and that's wonderful. It's better than them sitting there doing nothing. I say make them react - do whatever's in your power to move the audience, and if that's where it is, and there where it is with America, sex and violence, then I say project it.
The first time I was onstage, I felt like the audience was breathing with me. I don't know if I was good or not; I just knew I was having a ball, and for the first time, I felt I belonged somewhere.
For me, until I know that the audience really gets what I'm trying to communicate I'm not done.
When I sing, I pick out people in the audience and pinpoint on them. So if you feel that I am singing just for you, you may be right!
I've never tried to be anything but me. Even with Slipknot, where it can almost feel like a roll sometimes, it's still a part of who I am. It's a very strong and passionate part of who I am, and I'm lucky enough to have an audience that is really open to what I do.
Just with the basic one guitar, one piano and one vocal and an audience, I think that the intimacy comes through more. People feel much more connected to the song because there's nothing in the way, and I actually enjoy doing that.
I loved playing sport at school in front of a crowd; I love being on stage in front of a big audience. I buzz off that.
I believe in things that move people, if the audience isn't deeply caught up and moved to either laughter or tears then I don't think it is theater.
When I'm performing, I'm not even thinking about the song. I'm thinking about the audience.
I try to do something the audience might not have seen before. Like if I'm gonna kiss a girl I wanna kiss her like a girl has never been kissed. Like maybe I would kick her legs out from under her and catch her right before she hits the ground and then kiss her.
The comedian can put the punchline out there, but it's the audience that receives it - and has to get it.
Sometimes you don't know what you've got until you put it in front of an audience - and the enthusiasm for the show from the audience has been just incredible.
On stage, you've got dialogue you've learned. You've got a paying audience. It couldn't be better, you know?
Playing Batman is an actor's challenge. First, it's different; then, you have to reach a multi-level audience. The kids take it straight, but for adults, we have to project it further.
They look so expectant, and then they look so depressed... that was the other great lesson that The Royal Hunt of the Sun taught me, it was the profundity that masked drama can achieve, that of course, the audience were not seeing masks moving at all.
'A Little Nightmare Music' is the first show we created. It's about all the nightmares that can happen in the span of a concert. When things go wrong - when the lights go out or a cellphone rings - that's when an audience suddenly comes alive, wondering what's going to happen next. Things going wrong often leads to something good.
When we were trying to get the money for Driving Miss Daisy, everyone kept saying no one could direct it well enough to entertain an audience for 100 minutes essentially watching three people chatting in the kitchen.
I write about what interests me. It's very dangerous when you try to satisfy an audience.
To look in the eyes of audiences and see the kind of naughty glee that they got with being on the inside, the audience becomes your co-conspirators.
I am a woman, so I never want to hide that or be like, 'I'm one of the boys,' because I'm not. I am aware of our audience. We always aim for the right combo of not hitting people over head but still getting our message across.
If you give an audience a chance they will do half your acting for you.
I know the difference between someone coming up to you on the street and saying, 'Hey, you're that dude, right. Yes, that's what I thought,' and somebody coming up and saying, 'Big fan of the show. Big fan of that character.' And that's nice. You're out there telling stories, you're hoping to find an audience, and it's very appreciated.
You find a personality whom you think the TV audience will embrace and find a format that is tailor-made for the personality. In the case of Andy Griffith, we moved the personality of a wily country shark - a funny and shrewd guy - into another arena. In this case, he is a lawyer, and it is a dramatic series.
