My whole career began because I was always putting my music on the Internet. By the time I had my first tour, I had an audience everywhere I went, because people were listening online.
I'm very conscious that I want the dance audience to respond and respect what I'm doing, so I'm always very true to the music and I honour the music in the way I see it - I don't mess around with the music.
I connect emotionally to these songs. I mean what I say when I say it, and that allows your audience to connect. That's the number-one reason why any music is successful, because you make people feel something.
Nobody was listening when I learned how to play music. But there's something about being on stage, talking to the audience, looking at them and smiling, that's always been difficult for me. I'm a lot more comfortable now, but there are still moments ...
I felt that the elegance of pop music was that it was reflective: we were holding up a mirror to our audience and reflecting them philosophically and spiritually, rather than just reflecting society or something called 'rock and roll.'
I follow a simple formula when I compose. I ask myself, 'What would the audience want to hear?' and 'Why would they buy my CDs?' And the process of answering these questions through music follows. Sometimes, it works. Sometimes, it backfires.
A female friend who caught me watching Fashion TV reckons its audience is largely made up of slobbering men who are just taking a break from the appalling Men & Motors channel. I don't agree.
The interesting thing about movies, it's not always - y'know, you have to have structure etc and all those things, but an audience responds, in many ways, we walk away and certain things stay in our heads that are memorable.
Movies, I don't really get the bad guys. In theater, I get more bad guys. Both audiences and directors are more willing... to allow people to stretch. In movies, you do one thing, and then that's their reference.
There's been a vacuum with movies that people can relate to. There's been a paucity of dramas that people can relate to. I think audiences are clamoring to connect - particularly after 9/11 - with things that are genuine and real and I think document...
The thing that is incredibly helpful is that we screen the movies and we ask the audience if they like it or not and we ask a lot of questions and do testing on the movies. For comedies, at least, it's very helpful. If they're not laughing and they d...
This is the problem with language, and this is what makes silent movies fun, because the connection with them, me or the audience is not with the language. There's no question of interpretation of what we are saying it's just about feeling. You creat...
I've always operated under the notion that audiences don't always know when they're being lied to, but that they always know when they're being told the truth.
The larger the audience the better. The more pockets in the world, the more interesting and exciting because it just makes it that much more liberating. This makes it that much more liberating for the various facets of creativity to be explored.
The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.
I've never worried about what audiences would accept or had a game plan regarding the career. I never had an idea of how I should look to my fans or anybody else.
No one who has experienced facing a screaming, boiling, hysterical audience can avoid feeling shivers in the spine. It's a thin line between celebration and menace.
I once got my stiletto caught in my horse's tail on stage and went flying into the audience. It was a mental gig, so I think the crowd thought it was part of the show.
Usually when I take my films to festivals, I feel incredibly anxious about them. I wonder how it will be received, how the audience will react. I feel deeply responsible for them.
A magician must always value his magic effects more than himself, because after few years audience may not remember his name but they will remember his magic effect.
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to.
