You go to a festival, you know you're not going to play all new material at a festival. The audience is not there for that. I've made that mistake, but you find out pretty quickly.
Efforts to develop critical thinking falter in practice because too many professors still lecture to passive audiences instead of challenging students to apply what they have learned to new questions.
I do miss the rhythms of comedy. And I've never been able to perform very well without an audience. The sitcoms I've done had them. It was like doing a little play.
Now there was no wonder in the Statue of Liberty illusion because he, Copperfield, attempted to do something so large that it stretched the credibility of the audience to the point where most people didn't believe any of it anymore.
Kickback is a police thriller which I wrote. I'm very proud of it. I did it in two parts for France because when I wrote it, there wasn't the audience demand for crime stuff that there is now.
Playing live is basically just hyperactivity and a certain sense of enchantment that I deliver to the audience, to let them know what it would be like to be inside my head.
This is my third ABC show over the last four years, so we were afraid that nobody would find it. ABC was really struggling and so we just weren't very confident that it would find an audience.
I think the composer and production staff of an opera have a real responsibility to use visual elements of all kinds to make clear to the American audience, at any rate, exactly what is going on.
And there's a lot of that stuff with people bringing their kids, kids bringing their parents, people bringing their grandparents - I mean, it's gotten to be really stretched out now. It was never my intention to say, this is the demographics of our a...
When I wrote 'Marley & Me,' I had a clear audience in mind. And it did not include children. I wrote my book for adults and assumed only adults, and possibly teenagers, would be drawn to it.
Economics is a subject profoundly conducive to cliche, resonant with boredom. On few topics is an American audience so practiced in turning off its ears and minds. And none can say that the response is ill advised.
I've always been better at informing the audience through images than through words, but I took on a script that was so dialogue-intensive, that the words had to do all the informing.
I know just enough Japanese to get by if I get lost and greet an audience properly, just from having a lot of Japanese friends and being there over the years.
But my question is, am I compromising by adapting my words for the audience and where is the line beyond which I am not adapting words, but changing my position?
I think that the one thing about 'Parenthood' is that, while it's never been a huge out-of-the-box hit, it's always been solid. We've always kept our audience.
What do you hope to get out of this meeting? - CIA Counterintelligence official, polling the audience before the start of a briefing on CI That's what I hope to get: out of this meeting. - The Covert Comic
I thought we would have at most an audience of 5,000 devotees because I made the decision to stick to craft, not to gossip, not to be interested in any of the juicy stuff that they talk about on other shows, but stick to the question of craft.
I need to talk about Chinese culture. We have deep, strong philosophy and culture. I want to share some information, tell the worldwide audience.
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.
I think there was a sense that the impact was being lost because the audience was so familiar with the form. You combine that with people's attention spans, which are clearly conditioned to be shorter now, and there's a need to vary the paradigm.
Often, architects work too hard trying to make their buildings look different. It's like we're actors let loose on a stage, all speaking our parts at the same time in our own private languages without an audience.
