The solo years have been more meaningful to the audiences than the Smiths years, but the press in England only write about me in relation to the Smiths era.
What I've learned is that the audience is constantly rotating. Just because it feels like I've said it, there are millions and millions of people that have still never heard of it.
In order to appeal to a wider audience on network in order to survive, generally your characters need to be, at a base level, a little bit more likable.
On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.
Musicals are plays, but the last collaborator is your audience, so you've got to wait 'til the last collaborator comes in before you can complete the collaboration.
I'm very aware we are the first generation ever to have such incredible opportunities to express ourselves publicly to a worldwide audience.
When you're doing a play you get to go full speed ahead, all night, in front of an audience. It's a roller-coaster ride, responding to other actors, it feeds you.
If a magician makes a mistake, it's sometimes forgiven by the audience. If a gambling cheat makes a mistake, they will almost certainly lose their lives - and probably in a horrible manner.
Anything one can do to provoke and inspire an interest in the works of Shakespeare in a young audience is fair game. Anything.
I think of the audience the way I would think of another person: You meet someone, then you take it from there; you see what's interesting to both of you.
One blob of red in the wrong place and the audience isn't looking at the hero, they're looking at a patch of curtain (or something similar) and your whole effect is lost.
I think audiences like to see their favorite actor handle himself physically on screen, however he does it. He can wrestle, or box, or he can know karate.
Even in the off season, people are streaming the show or buying the DVD sets, and new audience comes to 'Leverage' every year we've been doing it.
You write for two people, yourself and your audience, who are usually better educated and at least as smart.
I pledged California to a Northern Republic and to a flag that should have no treacherous threads of cotton in its warp, and the audience came down in thunder.
In the same way that I'm open when I speak, I'm that open on stage. I feed off the energy of the audience, too, so they're feeling what I'm feeling.
I don't want the 35-year-olds in my audience to think of me as as 'pops' giving the kind of advice that only 65-year-olds can understand.
I remember clearly watching a 'Sooty Show' at a theatre and telling my mum I wanted to be up with the puppets, not in the audience.
I hate how things must be classified. How this is applied to musicians implies that they somehow contrive their products and have studied the demographics of the audience.
I don't think you should do something just to prove to an audience that you can do it, that's way out of your wheelhouse.
If the networks can get audiences to tolerate pop-up promos by the dozens, maybe they'll start selling pop-up commercials, too.
