Situation comedy on television has thrived for years on 'canned' laughter, grafted by gaglines by technicians using records of guffawing audiences that have been dead for years.
I call it fan fatigue. I went to see Bob Dylan last year, who I think is absolutely incredible, but he suffers from his audience.
I think what's very French is the mixture of comedy with intimacy and a kind of reflectiveness. For U.S. audiences, the nearest thing is Woody Allen.
The sad thing is that when movies like this fail, executives think that proves there's no audience for unusual, original pictures - because they think they've made one.
Movie acting is primarily listening. If you're really engaged, that's all a movie audience wants to see is you processing what's happening in your world.
There are so few shows that are willing to take risks with their characters in the way that 'Homeland' does. And yet, the audience still comes back and loves those characters.
We write for those who get the musical jokes. But for those who don't, there is always something else going on. That's why we have such a widespread audience.
Engaging with the audience lets them know I'm approachable. I don't like that whole, 'You can't talk to Sheila E thing' - I don't like that.
I like making films about different cultures. I'm interested in things that I've never encountered before. I try to put myself in the audience's position.
TV cookery is very like internet porn - the overwhelming majority of its audience will never ever get to act out what's happening on screen.
If it is something that I want to do, then I don't think the audience will hate it. Unless I turn into a megalomaniac and start thinking that Salman Khan can do anything.
I'll eventually go back to theater because the feeling of being on stage where you have the audience right there, you can't replace that with anything.
My audience knows me, and I wear beautiful clothes as a badge of honor. They remember where I came from.
There's a form of selling out. It's necessary. You have to become edible for people in Texas. You have to become edible for the Christian right, for mass audiences.
I can say with pride verging on smugness that I've got two very successful shows that assume their audience is very smart.
The solo years have been more meaningful to the audiences than the Smiths years, but the press in England only write about me in relation to the Smiths era.
What I've learned is that the audience is constantly rotating. Just because it feels like I've said it, there are millions and millions of people that have still never heard of it.
In order to appeal to a wider audience on network in order to survive, generally your characters need to be, at a base level, a little bit more likable.
On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.
Musicals are plays, but the last collaborator is your audience, so you've got to wait 'til the last collaborator comes in before you can complete the collaboration.
I'm very aware we are the first generation ever to have such incredible opportunities to express ourselves publicly to a worldwide audience.
