Sylvester has a great popular sense, as good as any writer I've ever worked with. He knows what audiences want to see, and what they don't want to see.
No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.
What really motivates you to try to work things out as an actor is in large part fear, because you want to get into that narrative and bring the audience along.
I like the idea of being out there regularly with an audience and with a funny gang of people. That's what I grew up with - doing television, doing shows every week.
Advertising must respect the intelligence of its audience and if it does not prompt them to think, it will be instantly dismissed.
When you're on stage you have a very strange knowledge of what the audience is. It isn't exactly a sound - it's a hum, like the streets.
By laughing at me, the audience really laughs at themselves, and realizing they have done this gives them sort of a spiritual second wind for going back into the battles of life.
Our shows are packed with laughter and light-hearted songs to lift the listener from their everyday life. We encourage the audience to participate in any way.
The audience, upon learning that the real Buffalo Bill was present, gave several cheers between the acts.
I actually love pressure. I loved playing sport at school in front of a crowd; I love being on stage in front of a big audience. I buzz off that.
If you make something with love and, you know, passion and you tell a real story, I think it will always find an audience somehow, you know.
When I tour with the new album, I still do the classics, and I love the atmosphere it creates with the whole audience singing along.
As an actor, I've always said, half the audience is going to love you, half is going to hate you so just live with it. It's easier that way.
The one thing about going from the audience to the stage in just three years is that you know how it feels to be down there.
'The Creation' presents an argument for saving biological diversity on Earth. Most of the book is for as broad an audience as possible.
When actors are talking, they are servants of the dramatist. It is what they can show the audience when they are not talking that reveals the fine actor.
The goal of almost every comic is to find a comedy voice - a specific point of view that an audience can latch onto.
Every once in a while, when the audience is expecting to see one thing, you have to show them something else.
It ought to be an offense to be excruciating and unfunny in circumstances where your audience is almost morally obliged to enthuse.
We don't really need reviewers, just first-night reporters who will tell us faithfully whether or not the audience liked the show.
A film has to maintain a certain decorum in order to be broadcast to a vast audience.
