Sometimes I just rely on technique on stage, but it's not about technique. It's about how much you want to deliver the message to the audience. That's all.
It's really important to create something, like with my creations as a musician. Just let it flow. Focus on how to deliver message to audience. Don't get ego.
I don't know, on a sitcom, and in theatre especially, you have to really be listening to an audience. And if you're losing them, you can hear the sniffs, and the playbills shuffling and whatnot.
As an actor, there are many confusing factors that can make you take or not take a decision. It becomes difficult. Your first and last checkpoint should be the story. I always read a script as an audience.
There are some die-hard 'Chelsea Lately' fans, and that's where the majority of my fans come from. Chelsea is really helping make comedy audiences hipper and edgier.
I think the more the actor lets you know what he thinks of the character, the less the audience cares - like a comedian who laughs at his own jokes.
With a lot of films, people are sitting on the outside looking in, but I want the audience to get a bit more intimately involved with what's going on, so that they maybe can experience it a little bit more intensely.
I think one of the things that was a huge surprise to everyone with 'Silence of the Lambs' was that that was an Oscar-winning horror movie. It struck such a nerve with audiences that it was a very particular, special experience.
I look forward to having the time and the opportunity to take on new challenges, but I'm also aware that I've loved every minute of the 'Potter 'experience: to make films for an enthusiastic audience and work with great material.
You have to think about why you're asking an audience to come to the theater. It's not that they should come because it's good for them, because it's the vegetables that they should eat and the culture shot that they should get... It's about experien...
There are always new things to experience, internalize then write about. This process is ongoing with me. It never stops. The opportunity to reach new audiences with all of the music that we have made is thrilling.
In other words, I think that if an audience listens to something as an experience of how in tune it is or something of that kind, that the whole point is somehow being missed, and the music has failed.
I really was very impressed with DMX during the whole experience on 'Romeo Must Die.' I like working with him. I liked him. And I was very impressed with the reaction of the audience when he was in the picture.
I just want my audiences to be entertained and feel like they're part of the show. I want to show them a good time and create an experience they're going to enjoy.
I think there's an essential problem in movies and TV that I think a lot of people experience now: Audiences are way more interested in the actors than the characters that they're playing. It's a strange thing.
Hill Street Blues might have been the first television show that had a memory. One episode after another was part of a cumulative experience shared by the audience.
I really prefer the actual experience of being onstage and living the character from beginning to end with the energy of the audience. There's nothing that beats that feeling, and yet I really have trouble with the eight shows a week.
What I always loved about theater is that that's an experience that a company of actors just sinks itself into for weeks, and you really get to work on the material, and by the time you're in front of an audience, you really own it.
People are so nice, you know. It's such a credit to Howard Stern - the audience base that he created is such a special thing. It took him a long time to create this family of fans, and I was lucky to be a part of that for a while.
I think there are two ways to depict a family. One is what it's really like, and one is what the audience would like it to be. Between you and me, I think the second one is what I would prefer.
Indeed, most magicians catch the bug as kids. My first audience was my family in Long Island. My first 'assistant' was my mother, whom I levitated on a broom in our living room.
