'Marley and Me' was a book I was proud of and believed in, but I thought it would just have a modest audience because it is such a personal story about my marriage and my family.
I don't understand that, because I think that what people like most about the show is that they recognize themselves in the characters and their problems, so the more believable the family is, the more we can draw the audience in.
My family is my biggest critic. Since they come from a non-filmi background, they give me an audience's point of view. They have been very supportive of me.
When I was doing 'All in the Family,' half the time, I was looking at where the cameras were, where were the other actors in the scene, what the audience was doing.
You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.
This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.
Theatre is more exciting in the sense that you can actually see the audience in the eye. You know there are no takes and retakes. You have one chance to do your job... and you better do it well!
We have to go and show these people what classical music is. We say sometimes that classical music has a small audience, but it's because people don't have the chance to be closer to it.
As an actor, you don't often get a chance to know exactly the impact of what the audience is seeing, even though you can ask where the frame is. A move that feels tiny can be huge, and vice versa.
I can go to a movie theater and watch a movie I was in with an audience... but with television, the opportunity to meet the fans at Comic Con or any other situation, it's a chance to enter that circle; it's that sharing.
I always thought it would be really cool to be playing the drums in the show and then have your astral body or whatever travel all through the audience and dig whatever it's like out there.
I just saw the movie for the first time in its entirely last night. It's really cool when you're in with an audience that's so tuned in and plugged in to what's going on.
My approach is so simple; every song I sing, every story I tell, every move I make, must move the audience to laughter, tears, or inspiration. Otherwise, why do it? It's the communication.
No, it's interesting to remake a film for the contemporary audience today. I think it's a good idea; it needs to respect the original idea. Don't just take the title and change everything else.
Some people say I appeared on the Phil Donahue show to tell 'my' sex change story but I've never appeared on his show for any reason... not even as a member of the studio audience.
I remember 9/11; we had 'Comics Come Home' about a month after those events. That night, even the comedians were concerned. Would the audience be ready to laugh? It was a release for everyone.
You know, radio was a really easy way to do the shows. You'd come in, do a read-through, there'd be a few rehearsals, then you'd come the night of the show and do it in front of the audience and then go home.
I love when people laugh. I love when they cry, I like a story to say something, and I hope the audience feels happier leaving the theatre than when it came in.
You can try to reach an audience, but you just write what comes out of you and you just hope that it is accepted. You do not write specifically to a generation.
I hope they get something of interest out of it, but I'd rather they all hate it and I like it, instead of vice versa... I make films to please myself first, and if the audience likes them, all the better.
A lot of my humor centers on the act of telling jokes and I think this can prevent certain audiences from suspending their feeling of disbelief. It might piss a few people off, but I can't help it.
