We are being entertained all the time - in the bathroom, on the train, in our beds. Sure, there is a smaller audience for theater. But we know from radio that entertainment never goes away, it just changes. And more power to it.
The only people with power today are the audience. And that is increasing with Twitter, Facebook, and everything else. We cater to their likes and dislikes, and you ignore that at your peril.
I also think the relationship I have with my audience is a lot more complex than what Hitchcock seemed to want his to be - although I think he had more going on under the surface as well.
Royalties are not how most writers or musicians make their living. Musicians by and large make a living with a relationship with an audience that is economically harnessed through performance and ticket sales.
As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.
One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.
You could argue that 'Sweeney Todd' was romantic, if you looked closely at it, but it didn't impart that to its audiences. But it's large, and it's melodramatic, and it's a style I like to work in periodically.
As an actor, I've grown considerably. It's taken me years to get comfortable doing a romantic scene and dancing on stage in front of a live audience. I've really opened up a lot.
When I'm working on a film, I think about how it will play with a tiny audience of friends whose opinions I respect - basically, a 40-bloc radius from my apartment in Manhattan.
I think Lady Gaga is talented. Madonna is talented, and the flair that Michael Jackson had. He was talented! Whatever it is that they do, they must be doing something right. They do have an audience out there, so I respect that.
We have been deformed by educational and religious institutions that treat us as members of an audience instead of actors in a drama, so we become adults who treat democracy as a spectator sport.
A sign now of success with a certain audience when you do a short comedy piece, anywhere, is that it gets on YouTube and gets around. It's always something you're thinking about unconsciously.
The success of the second 'Austin Powers' caught us by surprise a little bit. We had decided not to do even a second one, unless the audience wanted it and we could do something better.
I sometimes get that wonderful sympathy between me and the audience, telling me I've reached their hearts. And when I do, the thrill is mine.
I don't try to show off technology in my work. The technology is a means to tell stories, so I think conversations about my work can be had by very large audiences.
I would love to be a guest on a talk show or a panel that shows women who have been on reality shows who've had success, to prove to audiences that you don't have to be a fool to become successful.
I use Twitter as a tool to get involved with people, to sell tickets to gigs where I can stand in a room and smell the audience - and I love that!
As I told you, from the time I was fifteen, I thought the theater was too much involved with actors trying to make the audience love them, being over emotional.
I've always been the breadwinner and men don't like that. They turn on you. They bite the hand that feeds them. Eventually, too, they become very jealous of the love one has with an audience.
I love being onstage. I love the relationship with the audience. I love the letting go, the sense of discovery, the improvising.
We don't typically use music. We don't manipulate our audience into what we think it should feel. We tell the truth. That's 'Southland' Style'... and I love it!
