You see, the interesting thing about books, as opposed, say, to films, is that it's always just one person encountering the book, it's not an audience, it's one to one.
What you never want to do is have a story that doesn't track emotionally, because then you're going joke to joke and you're going to fatigue the audience. The only thing that's going to string them to the next joke is how successful the previous joke...
The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually.
You can't force something like that. But we have encouraged our audience, because we avoid the confrontation of regular rock concerts: us up here, you down there. Instead, we're looking for interaction.
Well, I'm not one of those people who needs the limelight. If I'm performing, that's what I'm doing. If I'm not, I don't long for it. I don't need the approval of an audience, or applause.
You have to keep your audience in your mind; if you're writing stuff that you know nobody's going to care about then you should rethink what you're doing!
Being lampooned on 'South Park' is hardly something to complain about. They brought the issue of the dolphin and whale slaughter by the Japanese to a very large audience. I could not really care less how I was portrayed.
I never saw myself as a spokesman for a generation. It was all a bit heavy for me. I saw myself as a songwriter and wrote for myself, which I still do, and I also wanted to communicate with my audience.
Waiters are like actors waiting in the wings, bantering whenever we passed each other on the restaurant floor, shouting at each other backstage in the kitchen and winking and corpsing above the heads of our audience, the unsuspecting customers.
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.
I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy...
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.
I do feel that the boys are getting left out. Girls will read boys' books, but boys won't read girls' books. If you're writing for a girl, you've got most of the audience on your side anyway.
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.
I am truly obsessed with Lena Dunham. I find everything about her unique and refreshing. She is a brilliant, hilarious and honest writer who is not afraid to make her audience uncomfortable.
As any speaker will tell you, when you address a large number of people from a stage, you try to make eye contact with people in the audience to communicate that you're accessible and interested in them.
In the theatre, because you're all looking at the same thing in the same space, consciousness is no longer individual. There is a unified consciousness. Until you look and project what is happening, it doesn't exist; the audience are the ones making ...
In France, they call the people who come to the theatre 'les spectateurs'; in Britain and Ireland, they are the audience, the people who listen. This does not mean the French are not interested in language. On the contrary. It actually says more abou...
You're always having to live more to fuel something new. It's an obligation to yourself and to the audience. The personal baggage that comes with being a known actor just adds to that struggle.
A stand-up comedian faces the audiences and gets their immediate feedback. I hide behind the comic strip, and unless people write to me, I don't know what they think.
My films play only in Bengal, and my audience is the educated middle class in the cities and small towns. They also play in Bombay, Madras and Delhi where there is a Bengali population.
