I don't really write for an audience. I just write what the subject seems to me to require.
A politician's words reveal less about what he thinks about his subject than what he thinks about his audience.
I started in 1946 in radio. I was ten years old. I was discovered singing in a school play. Someone was in the audience and it's six degrees of separation.
A liberal public is interesting to have as an audience. It is for that very reason that corporations make such an effort to ally themselves with cultural institutions.
People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
Sometimes when you take strong stands, if you're not called to do it, you're dividing the audience you're trying to reach.
The decline of the major labels has changed the audience. They aren't force-fed by a system any more. They can make their own decisions.
Whereas with foreign coverage there's a much broader disconnect between you and your audience.
Comedy and horror are cousins; they're related. They both come from storytellers who want to specifically affect the audience and elicit specific reactions during the movie.
And over the course of the last six years, as I've directed more features and commercials, I've become better at articulating exactly how I want the audience to feel.
The entire season, the show had never been aired for more than three weeks. You can't get an audience that way. They would never promo the show for the next week.
I know I'm writing better now than I ever did for adults because I'm writing for an audience who know that they don't know everything.
A single prop that does not look real to an audience can louse you up. The same is true of the smallest flaw in setting up the motivation in a story line.
Even Hitchcock liked to think of himself as a puppeteer who was manipulating the strings of his audience and making them jump. He liked to think he had that kind of control.
When I'm doing an appearance somewhere and taking questions from the audience, I can always count on: 'Tell about the guy who died on your show!'
A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.
I have to feel the audience. I enjoy that feeling of community. There's something sort of spiritual about it in a lot of ways. It's like we're all doing this together.
I usually don't find myself reacting to my characters. I just create them ... And let the audience decide whether they're empathetic or scared or compelled to cheer me on.
And that's another reason to make this movie: We can put plays on film now, at a relatively small cost, and they will reach an audience they would never have reached otherwise.
There's something about being in a house with an audience, and having that immediate feedback. I started acting because of that energy; it's what feeds me on stage and informs my choices.
It's quite pretentious, really, isn't it? The notion the audience is going to be interested in you for an hour and a half. Think too much about that and anxiety takes over.
