When I'm doing an appearance somewhere and taking questions from the audience, I can always count on: 'Tell about the guy who died on your show!'
A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.
I have to feel the audience. I enjoy that feeling of community. There's something sort of spiritual about it in a lot of ways. It's like we're all doing this together.
I usually don't find myself reacting to my characters. I just create them ... And let the audience decide whether they're empathetic or scared or compelled to cheer me on.
And that's another reason to make this movie: We can put plays on film now, at a relatively small cost, and they will reach an audience they would never have reached otherwise.
There's something about being in a house with an audience, and having that immediate feedback. I started acting because of that energy; it's what feeds me on stage and informs my choices.
It's quite pretentious, really, isn't it? The notion the audience is going to be interested in you for an hour and a half. Think too much about that and anxiety takes over.
Singing well has always been important to me, but the most important factor is the connection to the audience.
For me, being a woman suits what I want to talk about and what my audience wants to hear. Maybe I'm a dying breed.
I think, often with Australian films, if an Australian film has been given the seal of approval by an offshore festival or an offshore release, then it does mean a lot to a local audience.
I'm a regular part of the TV audience world, and I know that I like shows that I would watch. And this is a series that I definitely would watch. And some episodes are better than others.
What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.
Listen to advice. You don't know how many writer's conferences I've taught at where at least half the audience fights all the conventions of the field.
I feel like L.A. is more of a showcase, and Chicago is a pure comedy scene where you're doing comedy for comedy. You're doing comedy actually for the audience that's there.
I never tell an audience what they can expect. I never have and I never will. I'm an entertainer for 75 years.
The innovative process is a fragile one, dependent on a complex, often messy interplay of imagination, competition, and exchange. Curbing new ideas hurts not only individual creators but the audience for which they create and the posterity that inher...
I just can't wait to get out there on stage. There's no anxiety at all. I love being able to take this journey with the audience, because we all have a ball with it - even if we're crying.
If you're sitting in that audience ready to fight me from the very beginning, I'm going to have a hard time getting to you. But if you've got a heart at all, I'm going to get it.
I've been a huge fan of the cable network FX for a very, very long time. I think their brand of comedy is incredible. For me, as an audience member, that's a go-to channel.
I have to understand how we are going to market the movie. We view marketing as an extension of content creation... Every time a consumer sees our movie, in whatever form, our obligation is to entertain the audience.
Pretty much every time I try something different or do something in front of a live audience, I truly think they might throw peanuts at me.
