Comedy is learning to be funny, and you learn to be funny in small rooms with young audiences.
Audiences deserve better.
And lot of Asian audiences and reporters don't like me to act as a bad guy. But I think I want to become an actor, I want to try different way.
You know what, I'm a big coward and I'm really afraid of live audiences.
It's good to give people a jolt. If they're expecting one thing, it's important to give them something else. If you do something startling, audiences might at first freak out, but then they start to think, 'This is not going to be conventional. I'm going to enjoy this.'
I have a complex feeling about genre. I love it, but I hate it at the same time. I have the urge to make audiences thrill with the excitement of a genre, but I also try to betray and destroy the expectations placed on that genre.
Vegas has the Whitman's Sampler of audiences. They come from all different places, so you have to do some crowd psychology. You have to find the heartbeat of the room. It doesn't shift my jokes, but it shifts my timing and my attention.
I think American audiences are open to people with accents and different nationalities being on the screen.
When I have to compete with John Coltrane and Miles Davis and Louie Armstrong on iTunes, which I'm doing now, that's a problem. That means that jazz is not being heard by younger audiences.
I'm attracted to things that are challenging and fun and interesting, and it certainly seems that audiences enjoy them as well.
Audiences are smarter than ever; they know if filmmakers cheat an environment.
We've been in front of really big audiences, and people have said there's a couple of hundred thousand people out there, but I've never really noticed.
Ultimately, what we do as musicians, I think of us as a type of emotional engineer. We essential take these sound waves, this sound, and we organize it into emotion, and that's how we connect with our audiences.
What's the point of doing a great character in a bad film? Instead, I want audiences to thoroughly enjoy a film and remember my part when they walk out of a cinema hall.
Most big popcorn movies are 'bad guy does something to good guy, good guy gets revenge on bad guy, sets the world right, and moves on.' And 'Ender's Game' is just not that simple, so it's an exciting challenge. It's a little terrifying, and let's see how audiences respond.
Older audiences are hard to win over. They're very specific in their tastes and critical of new music.
One of my frustrations is that we in society generally have this bifurcation in how we see the world. That's probably a little less true with business audiences, but in general, there tends to be this view that for-profit companies are greedy, and nonprofits are noble. It's absolutely more complicated than that.
I think new plays are vastly more surprising and challenging and inspiring; I hear from audiences all the time that they are delighted when they see plays about the world we live in now, at this moment.
One thing that probably is unique at Activision is that we really spend a lot of time up front with our audiences, and in big quantities and with a very thoughtful process, to really try and draw out from them what it is that they would like to play. So we have a pretty good sense going in what the expectation of the audience is.
Audiences make their minds up about people they see on screen, just like they do in real life. That's what fascinates me in film. You see a character and have to think: is this person different to what I assumed he was when I first saw him?
French cinema audiences usually don't express anything. Certainly not satisfaction.
When I was on 'Dallas,' I was known to audiences of the '80s. And then when my sons, who are in their 30s now, were going to college, 'Dallas' was the cult thing to watch because it was being done on the soap channels, so a whole new generation saw it. And then I have the young fans that knew me from 'Step By Step' in the '90s.
Movies, I don't really get the bad guys. In theater, I get more bad guys. Both audiences and directors are more willing... to allow people to stretch. In movies, you do one thing, and then that's their reference.
Without audiences, artists would be doing something else, and their creative and technical skills would fall on absent eyes.
As any parent, teacher, or librarian knows, there is no richer experience than to see children's faces light up at the suspense of a new tale or the surprise of a new poem. The uninhibited joy with which they listen is surely akin to that of adult audiences of old around campfire and hearth.
My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.
When you see the audiences and the smiling faces at the shows it really makes up for the work that you put in. I have a job I really love so whatever hecticness comes up - I'll just deal with it.
I think the resolution involved in the high-def, Blu-ray image demands we pay attention to every detail to a level we've never seen before. The audiences have to believe everything they're seeing. As viewers, we're all so experienced and so much smarter than we realize. With Blu-ray, there will be less tricking of the eye.
I love making stuff. There's a joy in having the first molecule of an idea, then testing it in front of audiences at secret shows that people only know about the day before. I videotape those, study them, enjoy being in the character and figuring out the movie.
A lot of people don't give their audiences credit. You can leave it a little mysterious. They can think about it.
I think it's more interesting to throw people into a story and let them catch up instead of explaining and feeling like you have to slow down for them. I think audiences, for the most part, they don't want to be ahead of you.
Audiences are smart, and they don't need to be spoon-fed everything.
We have anticipated releasing the trailer for 'Do You Believe?' to audiences, as so many have been looking forward to this project as the follow up release to 'God's Not Dead.'
We remain committed to inspiring and compelling social change to the world's most pressing problems through the power of great stories and engaging our audiences to take meaningful action.
You hear again and again that audiences want to see movies that are different, and critics say we make the same thing again and again in Hollywood, then you go and make something different, and you get kicked in the gut for it.
At the end, it's your movie and your performance that stands out. So if I am a good actor, and if am being part of good entertaining engaging films, audiences will like me.
