An audience is never wrong. An individual member of it may be an imbecile, but a thousand imbeciles together in the dark - that is critical genius.
It's a constant challenge to get your arrangement and musical expression across to a new audience, especially when you're playing live every night like we are.
You have to have an awareness of where you're going, what the event is, what you're promoting, and who the audience is. That always informs the way you dress.
When you feel an audience engaged and surprised and enthusiastic, reacting to what you've planned, that is the reward. It's better than the Emmys.
I learnt early on that your audience take the songs in the way they want to rather than the way you might want them too.
With a theatre audience there's always the additional sense of a sustained challenge of which I'm acutely aware and for which you need to have the tools ready - your voice, physicality, brain.
Wanting to be understood by an audience that didn't know Russian, I tried to paint musical pictures by emphasizing the phrasing, using voice color more boldly, and varying the shade and nuance.
I don't really write for an audience. I just write what the subject seems to me to require.
A politician's words reveal less about what he thinks about his subject than what he thinks about his audience.
I started in 1946 in radio. I was ten years old. I was discovered singing in a school play. Someone was in the audience and it's six degrees of separation.
A liberal public is interesting to have as an audience. It is for that very reason that corporations make such an effort to ally themselves with cultural institutions.
People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
Sometimes when you take strong stands, if you're not called to do it, you're dividing the audience you're trying to reach.
The decline of the major labels has changed the audience. They aren't force-fed by a system any more. They can make their own decisions.
Whereas with foreign coverage there's a much broader disconnect between you and your audience.
Comedy and horror are cousins; they're related. They both come from storytellers who want to specifically affect the audience and elicit specific reactions during the movie.
And over the course of the last six years, as I've directed more features and commercials, I've become better at articulating exactly how I want the audience to feel.
The entire season, the show had never been aired for more than three weeks. You can't get an audience that way. They would never promo the show for the next week.
I know I'm writing better now than I ever did for adults because I'm writing for an audience who know that they don't know everything.
A single prop that does not look real to an audience can louse you up. The same is true of the smallest flaw in setting up the motivation in a story line.
Even Hitchcock liked to think of himself as a puppeteer who was manipulating the strings of his audience and making them jump. He liked to think he had that kind of control.
