There's a pressure to conform to particular images, and it feels a pretty exclusive pool of body image or facial image that is considered appealing. And in a way, that feels like pre-judging what an audience might actually want.
My material is as new as anything on the dinner table. What difference does it make if I'm 70 or if I'm 20? The audience knows they aren't getting any old stories from me.
I like the opportunity to play characters who have these dark sides but make the audience empathize with them. You want them to think there is some kind of sweeter, softer side to it.
In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
But I couldn't cut that whole septic tank scene out because the audience liked it so much. So I sort of fell right back into getting a cheap laugh, but I still loved it.
I also want to return to doing stand-up. I've become frightened of live audiences. This is a really telling sign that I need to go back on the comedy circuit again.
I think it sort of dawns on you that if you're not gigging constantly you're not actually relevant. You may be relevant to a different part of the media now, to television commissioners and editors, but to a young live-comedy audience you're not, rea...
There's something really nice about writing something on Wednesday and watching it being performed live for a studio audience on Tuesday. You never really get that with novels.
Serving as the only audience for a man raised by crowds of admirers exhausted her. [...] The buried thought that he might have found comfort elsewhere was almost a comfort to her.
As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.
When I walk out on stage, I don't know who's in the audience. To me, in my little fat skull, the laugh is just the widest demographic you can get.
I always thought that it was every performer's dream. That's the epitome of being an artist, being able to express song, dance and acting in a live theatre setting and really connecting with an audience on that level.
And I think I'm an adrenaline junkie, and there's nothing that will spike your adrenaline more than sitting in a theater and listen to an audience react to something you've written.
We are cannibalizing our audience by only giving them regurgitated material. Every movie is either a remake, a sequel, based on something else. Based on a former television series. Based on a successful videogame.
We had all week to rehearse. An audience would come in at the end of the week and we'd our little show. Most of the ad- libbing happened during the week on the show.
If the purpose of the stumpy little NFT theatre under Waterloo Bridge is not to acquaint young audiences with Ozu, with Ophuels, with D. W. Griffith and with Agnes Varda, then what exactly does it exist for?
What was important to me was entertaining the audience, and whether that meant winning, losing, singing, or whatever it was on the live show we were doing every week, which was awesome, I was game for it.
Wrestling was like stand-up comedy for me. Every night I had a live audience of 25,000 people to win over. My goal was never to be the loudest or the craziest. It was to be the most entertaining.
It gets harder and harder to succeed and find audiences with the 500-channel universe, the remote control, and people being so trigger happy with that remote control. It just gets harder to get a foothold.
Audiences in every medium are becoming far more savvy. No one goes to watch a Tom Cruise movie any more just because it's starring Tom Cruise.
Somebody has to wear the black hat and give the audience someone to shake their fists at. They want someone to hate. And if that's what you want to pay me to do, I'm happy to do it!
