I always felt, as a listener at a show, that when there was too much banter between the artist and the audience that it detracted from the show. I more enjoyed shows where the guys came out and they just played.
When I think about how I want to reach an audience, I just wanted to make pieces that were inspired by something that gave me so much pleasure.
What frustrates me about some high-concept shows is that they don't give you information until sweeps, but 'Jericho's' audience will get a large piece of the puzzle every week.
What I wanted to do was to get that sense of being in touch with this lost world while holding onto what draws readers and audiences there in the first place.
I loved working with kids, and kids are the most incredibly discerning audience. And if they don't believe you, they will tell you and let you know. I mean, kids is where it's at, really.
Much as a teacher may wince at the thought, he is also an entertainer—for unless he can hold his audience, he cannot really instruct or edify them.
For me, acting comes straight from the heart. In that sense I don't act at all. I think that to feel the character's pain I have to be myself. Somewhere audiences see that.
It was Christopher's brilliant concept that he did not want this to become like every other sitcom where you do one take, and the audience gets bored with seeing it ten times, you know, over and over again.
You don't service a big, fun premise comedy and then shoot yourself in the foot with too much irony. You need the audience to invest in the fun and the warmth and generally care about the characters.
I reached the stage where I was afraid to wiggle my leg, but then I thought 'why shouldn't I?' It's what I do and now I know how to turn an audience on again.
On stage you look much larger than you are. You can have subtle changes of timing; how you place a punch line in a joke or movement or emotion according to an audience.
'On the Road' is another one of those, a film in which the audience has a very clear idea of who they think your character is, so you know you are asking for it. But that's the challenge.
Jazz has an audience all around the globe and has had for many decades, I think speaking of the United States, let's say that what we need is more of an official recognition.
I think the key divide between the interactive media and the narrative media is the difficulty in opening up an empathic pathway between the gamer and the character, as differentiated from the audience and the characters in a movie or a television sh...
I think audiences have hit the wall with CGI and special effects. They have seen so many over-the-top events that they can't suspend disbelief.
I can personally feel the relief myself in my audiences when I bring up Obama because there was a lot of anti-Obama sentiment out there before the capture of bin Laden.
I did Vibe, and I felt old and paternal. I've got ties older than people in that audience. I had a talk with myself. I said, You've got to deal with this better.
You've got to have a sense of different audiences. I'm a kind of performer manque - I come from a long line of failed actors!
I don't sing to people. I sing for them. I told that once to Elvis Presley. He bought it. After that Elvis sang not to but for the audience. A subtle difference.
I worked at NBC and MTV for two years, and it was very interesting to see the comparisons of audiences and the way that I would have to present a story to the two different places.
When you're singing you can hear the echo of people in the audience singing every single word with you, and that was that big dream that I had for myself. It's happening.
