I think indie films are really important, because they show the studios and the audiences when they see them, great stories. Really interesting, small stories.
Being called 'conscious' is a great thing to be, but it's the connotations and preconceived notions that come with the buying audience about what conscious music can be.
Feeling emotionally connected to a song, and accumulating every bit of the moment's energy to sing out to the audience is what I believe makes a great performer.
I feel like I share a great relationship with my audience where they trust my judgment and choice of films and sense of comedy.
Trying to guess what the (mass) audience wants and then trying to satisfy that is usually a bad recipe for getting something good.
Anything that loosens you up and makes you freer is good, because that's what acting and performing is all about - being free. It gives you a better connection to the audience.
If I do a piece in my living room, if I practice it - and I have the tapes to prove this - it's not going to be as good as doing the same piece in front of an audience.
I love music and love a good audience and still have to make a living. Why would I quit?
Only really good comedies and really good horror movies get a verbal response out of the audience. People will scream. People will laugh.
Yes, I did some rewrites of the show as some of the stuff was not very good and I worked my butt off to make it something that the audience liked and that I could be proud of.
Audiences don't ever disappoint me, in the sense that movies I feel really good about, they usually feel really good about too.
It's rare that you cut out something that is really good. You screen all of it, and when the audience doesn't respond, you cut out whatever is holding the story down.
It's one of the things that looks good written down, but the reality is that you think about the pieces you're doing and try to bear in mind everyone in the audience.
I always think if it's a good story, the audience can't wait to run out of the theater and go tweet somebody with the gist of a story, in a nutshell, almost, because it was that interesting.
'Visiting Mr. Green' is a good play. I enjoy being in it, and I have a wonderful colleague, Aidan deSalaiz, to work with. Audiences like it a lot. What's not to like?
Sylvester has a great popular sense, as good as any writer I've ever worked with. He knows what audiences want to see, and what they don't want to see.
No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.
I like the idea of being out there regularly with an audience and with a funny gang of people. That's what I grew up with - doing television, doing shows every week.
Advertising must respect the intelligence of its audience and if it does not prompt them to think, it will be instantly dismissed.
When you're on stage you have a very strange knowledge of what the audience is. It isn't exactly a sound - it's a hum, like the streets.
By laughing at me, the audience really laughs at themselves, and realizing they have done this gives them sort of a spiritual second wind for going back into the battles of life.
