[first lines] woman in audience: It's her. I know it's her! She wants to tell us something.
Frank: [as audience members boo Olive's performance] Where are they? I will *kill* those little fuckers!
George Shapiro: Andy, you have to look inside and ask this question: who are you trying to entertain - the audience or yourself?
Girl in audience: [about Lina] She's so refined. I think I'll kill myself.
Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.
25, 30 years ago, that meant something, they were making some money. And they were doing all sorts of comedy, screaming at the audience, basically crowd control. And then there was the whole urban comedy scene.
Those of us in the industry who are still foolishly clinging to the idea that female films with women at the center are niche experiences - they are not. Audiences want to see them and, in fact, they earn money. The world is round, people.
I think people who make movies and have invested a lot of money in them get frightened that if they challenge an audience they are going to repel them. And I think the opposite; it's really true.
Wet Hot American Summer so far is a financial disappointment and money was lost on it. But perhaps it will find its audience in video, cable, etc, maybe over the course of years.
I enjoy being on CNBC's 'Fast Money,' in part so that audiences can watch a woman who is as well informed about, and invested in, the market as her male counterparts.
There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.
I want to lift the audience to the miraculous in human nature. After all, we shouldn't be here, with all the odds against us in nature. It's kind of unusual and wonderful!
I usually don't like to 'spoon feed' my audience, because I grew up idolizing story tellers who tell stories using symbolism, so it was in my nature to do the same.
'Entity' is not about science. The process behind it may dictate the nature of the piece, but it's not like a dance about Einstein where I'm trying to convert his ideas into movement and communicate that to an audience.
We are being entertained all the time - in the bathroom, on the train, in our beds. Sure, there is a smaller audience for theater. But we know from radio that entertainment never goes away, it just changes. And more power to it.
The only people with power today are the audience. And that is increasing with Twitter, Facebook, and everything else. We cater to their likes and dislikes, and you ignore that at your peril.
I also think the relationship I have with my audience is a lot more complex than what Hitchcock seemed to want his to be - although I think he had more going on under the surface as well.
As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.
One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.
As an actor, I've grown considerably. It's taken me years to get comfortable doing a romantic scene and dancing on stage in front of a live audience. I've really opened up a lot.
When I'm working on a film, I think about how it will play with a tiny audience of friends whose opinions I respect - basically, a 40-bloc radius from my apartment in Manhattan.
