I love working with an audience. I love working with actual people who, you know, if they're moved, you see it. If you say something they're stunned by, you see their jaws drop. If they're amused, they laugh - that kind of reinforcement, I totally ad...
I would love to do much more singing; it's just one of those things where I can't quite describe what it feels like when you're standing in front of a forty piece orchestra, and there's nothing between you and an audience but a microphone. It's like ...
I love nothing more than to perform my songs in front of a live audience. And whatever I'm doing is driven toward finding or writing songs and putting out hit songs that drive people coming to see me live. Because, at the end of the day, that's what ...
My first book, 'Fast Forward', was about growing up in the shadow of Hollywood and how kids are affected by the culture of materialism and the cult of celebrity, and I've often felt the reason my work has an audience in the U.K. is because it's every...
'Weedflower' was already in the copyediting phase when I heard about the Newbery award, so it didn't really influence my writing of that book, but since then, I have become more aware of having an audience.
But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are "on" concerns us much more than to guess about the sce...
Like the he-man movie stars who turn out to be queer . . . or the silent-film actors whose voices sound terrible recorded--the audience only wants a limited amount of honesty. [ellipses original]
Writing comedy is an exposing thing because you're putting yourself on the line with every joke you write, and although you can't second-guess an audience, if you want to be successful, you have to write stuff people like.
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.
The most important thing is that it's much more fun to play in a band than to be in an audience in a club. That's the main thing I think, that you can do it.
Any New York group can come to L.A. and sell out every show, but an L.A. group who goes to New York might not do the same because the audience hasn't been introduced to the group.
When you go to commercial, you want something to call the viewers back, and if you don't have a decent act out, the audience probably won't be there in the numbers you want when the show returns.
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 becaus...
I often tell audiences at the start of my shows that I'm not gay because I've got petitions from lesbian groups saying 'Can you tell people you're heterosexual because you're giving us a bad name.'
You've got a song you're singing from your gut, you want that audience to feel it in their gut. And you've got to make them think that you're one of them sitting out there with them too. They've got to be able to relate to what you're doing.
At a Boston signing, someone from the audience asked why I was so obsessed with furniture in my books. The question rattled around in my head. I had no idea that I was obsessed with furniture.
The centerpiece of 'Law and Order' is the crime, and it starts with the writing. There's a beginning, a middle and an end. It allows the audience to watch any given episode and can drop right in and not feel lost. I think the stark, raw structure has...
I'm always looking for a way to surprise audiences. That's, I feel, my job as a director. I felt that Amy Adams playing a tough woman in 'The Fighter' was a surprise. People saw her as a princess.
I'd like to think my performance is today. I never try to - it's so, as you know, watching me, I have a beginning, middle and ending. But every night the show changes and I relate to an audience and I relate to the young people.
The one thing an audience always has in common with a comedian is troubles. The Yiddish word for that is tsuris. You're always putting your tsuris on stage whether you like it or not. No one is untroubled, unless they're just, you know, an imbecile.
For instance, when I go to the premiere on Tuesday I probably won't watch the film at all - I'll be watching the audience just to see their reaction to different moments, what I'm doing right and what I'm doing wrong, stuff like that.
