The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.
I really like reaching out and seeing the audience - they're potential audiences! And on occasion I can make them excited about going to the theater again, if they've ceased or gone less.
There are some long silences in Scandinavian and some Japanese films, when the audience knows action is taking place, but the audience hears no action.
The nice thing about building up your own studio is if Hollywood decides to hate faith-based films, it doesn't matter to us. We have an audience and continue to serve that audience.
I've always been switching around the show to accommodate the audience, and you know it really makes it a lot more fun for me and keeps it fresh so that I'm not complacent with the same show every night and with every audience.
I think audiences crave something new. I don't think audiences want the same old thing, no matter how much conventional Hollywood tells you that.
One can never anticipate how audiences will respond. One of the lessons that I've learned over the years is to that no matter what my feeling or opinion might be about a given film, once you give it to the audience, they own it.
It's a little like casting out hundreds of fishing lines into the audience. You start getting little bites, then more, then you hook a few, then more. Then you can start reeling them in and that's a loveliest feeling - the whole audience laughing wit...
Playing in front of an audience was just such a turn-on for me, and you have 200 people in the audience and it's like doing live theater. And filming something that goes to millions of people several weeks later, it's an interesting dynamic.
Low lights signal to our senses that the workday may be over and it's time for sleep, making it hard for an audience to pay careful attention. When we stand behind a big wooden podium, it can feel as if there's a shield between us and the audience.
Abbie Hoffman: Tell us a little bit about the war, man. Forrest Gump: The war in Vietnam? Abbie Hoffman: [to audience] War in Viet-Fucking-Nam! [Audience cheers]
People are used to seeing kids jump around. You know, the target audience, the audience that's spending money on music, like rock and hip-hop - they're used to seeing people get really physically involved in their music.
Before the widespread rise of the Internet and easy publishing tools, influence was largely in the hands of those who could reach the widest audience, the people with printing presses or access to a wide audience on television or radio, all one-way m...
In Poland, my audience is all women between 18 and 30. At U.S. conventions, you have the fantasy and science fiction crowd. At Harvard you have an entirely different audience. It's so schizophrenic.
You know, we're not on stage, we're not doing a play, so we don't have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.
I was really sick of bands just ignoring the audience as a posture in rock music. And I think we fed off each other in terms of trying to engage the audience, not in a hammy way, but actually trying to be aware of the space that you are playing in an...
I always figured there would be a kid audience and an adult audience, and there is. That's true for 'Hunger Games' and 'Twilight' and 'Harry Potter.' And 'Maximum Ride,' for sure. In particular what happens is a lot of parents share the books with th...
We don't make movies for critics. I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a pay...
British audiences tend to want to see their own lives reflected on TV, whereas American audiences are quite aspirational and enjoy high-concept shows that show them lives that are perhaps slightly more exciting than they aspire to.
I have been steadily exchanging a rock audience who were nervous about what they had just bought for a jazz audience who not only were happy with their purchase, but are increasingly coming again.
It's very strange to go from being completely secluded and doing your own work for yourself, to having an audience - and having an audience that's aware of what you do and expects you to do things that they like. It can make things difficult.
