I'm sorry, but to ask an audience these days to invest three hours in a show requires your heroine be an understandable and fully rounded character.
I am always looking for what piece, what artists, what playwrights, what directors, what subject matter is going to catalyze an audience.
I enjoy mixed audiences, not one particular group. Short, tall, scientists, Jews, gentiles, whatever, as long as they breathe and like to laugh.
When you do comedy, you can't please the world, although I'd like to think that most of my audiences were on my side.
Regarding the creative: never assume you're the master, only the student. Your audience will determine if you're masterful.
I don't think at Pixar we'd ever make something that was too scary for general audiences.
I'm a big fan of being scared I like being scared. I like being involved in a film that will make audiences scared, that intrigues me.
If actors could actually make a living doing theater, that would be my first choice. Sitcoms are the closest thing to being onstage in front of an audience.
The common misconception is that as an actress you have to learn what you're doing. No, you just have to make the audience think you've learned it.
I feel like what I owe my audience is what I'm most passionate about.
I never see things I make in the same way that the audience does. You can never do that.
The one thing about comedy, making it become a part of you, the audience loves it, because you become part of them.
You can have a knack for dancing, but you still have to practice till your feet are bleeding to be worthy of being in front of an audience.
Everybody goes through a stage where you have it. And, all of a sudden, you don't have it anymore. You get older and the audience gets younger.
I think sometimes when you're working consistently in film, and maybe this is just me, but you do feel quite dislocated from your audience.
Everybody that you could name would join in our audiences from, Laguardia on down. Everybody came. Everybody came to the Cotton Club.
Plays by people like Martin McDonagh and Brian Friel attract huge audiences, not because they're Irish, but because they're brilliant plays.
I was the first one to allow a projectile to come off of the stage and into the audience. And I kind of take responsibility for the mosh pit.
Rehearsals and screening rooms are often unreliable because they can't provide the chemistry between an audience and what appears on the stage or screen.
Nowadays, performers worry too much about how they look. They're not concerned about what they're really saying to their audience.
I didn't grow up around all white people; I never wanted to gentrify hip-hop, I've never wanted to speak to an all-white audience.
