What the podcast novelists do isn't all that different from what self-publishers do. We put the books out in different formats, but the goal is the same: build an audience and attract a publisher.
I just get such a connection from an audience. You play with them. I get mad at them. I yell at them. They yell at me. It's just fun.
I am so used to being up on stage and talking to my fans that it's strange to be on stage and be someone else. I can't look at the audience during 'In the Heights' or I will start talking to them.
Your audience is one single reader. I have found that sometimes it helps to pick out one person-a real person you know, or an imagined person-and write to that one.
And I think that when I play these villains, maybe what is different is that the audience sees me play these and they know that that's Chris and he's having fun and he knows that and he knows that and you know that and everybody knows that.
In a jazz atmosphere, the audience members were so quiet and respectful of the musicians that you felt you were almost part of a meeting at a church or a temple, where everyone was completely in tune with the sermon and what the whole event was about...
I've never done a film before where every single person in the audience knows the ending. I mean suspense, twists are almost impossible these days. People are blogging your endings from their cinema seats.
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.
As a member of the audience I don't like it that I can't see what's going on in the eyes and in the face and in the most subtle responses of a performer when I'm more than a few rows back. I find it very frustrating.
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.
As an audience member, I live vicariously through the characters I watch or read about. There's something very relatable about comic-book characters. They're never perfect. They're flawed people put in extraordinary circumstances.
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.
