In a normal movie, the director controls what you look at. The shots don't last very long because you're getting the audience to look at specific things. An IMAX shot, on the other hand, can be twenty or thirty seconds long.
Just with the basic one guitar, one piano and one vocal and an audience, I think that the intimacy comes through more. People feel much more connected to the song because there's nothing in the way, and I actually enjoy doing that.
You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - howe...
Human attention is limited, and a massive number of newly browsable books from the long tail necessarily compete with the biggest best-sellers, just as cable siphons audience from the major networks, and just as the Web pulls viewers from TV.
The Gamifaction Movement is trying to help companies engage their audience and community by using game mechanics and wrapping them around shopping or achievements, so you get achievements for coming to a store or purchasing things, like rewarding act...
Being a doctor has taught me a lot about directing. You're doing the same thing: You're reconstructing the manifold of behavior to the point where an audience says, yes, that's exactly like people I know.
I did find it particularly difficult to do Broadway. It was not my favourite way to perform. When I do theatre, I like it to be smaller. I like the audience to be closer; I like it to be less presentational.
I'm not a big believer in doing too much research - I think you can get lost in it. You can get constrained by it, which I think is a mistake. But if you've done your homework, the audience feels it.
There are so many low points with stand-up. You are perpetually humiliated, so it doesn't really matter anymore. I don't have any dignity left to lose. An audience can't hurt you anymore when you've been completely dismantled.
I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in...
You have that moment just before you go on - I've had it in every play - where you just kind of want to run away. There's a whole audience, and they are waiting outside, and you're like, 'Why am I doing this again? Why? Why?'
I'm not the kind of person that can do the same thing over and over and over, so that's why touring, playing in a different venue every night, in front of a different audience, is so rewarding, you know, because it always feels fresh.
I reserve the right to tell shaggy dog stories or even common jokes as part of what I'm doing. I don't give a damn if half the audience walks out.
The other thing that was very noticeable on that tour, not so much in the video, was the new young element that were coming to our shows... I started to see some very young people in the audience... maybe 14, 15, 16 years old.
It's difficult to build services that are supposed to scale to, you know, 30, 50, 100 million users right off the bat because they got to be kind of tailored down; by definition, they have to be a little bit generic to speak to that large of an audie...
Which is why, in my lieder concerts, I always strove, when possible, to sing only the works of a single composer, so that the audience could be gradually drawn into a particular creative genius' way of thinking, and could follow him.
I've found that if you just try to make the film you want, you'll find the right audience. If you try to please everyone, you're going to make really boring films.
When I was doing 'Britain's Got Talent,' I really enjoyed it, but I found it very difficult to be in the audience. I like to be on stage; I feel safer on stage because I'm in control.
An illustration I use to get people to understand it is this: I'll ask major corporate audiences: Why don't you just take all your traditional beliefs about organizations, and apply them to the neurons in your brain?
My audience consists mainly of people who already recognize how bad this culture is, and I want to push them to become more radical. It doesn't really matter to me if they are Left or Right.
My philosophy is, it's always very rewarding when you can make an audience laugh. I don't mind making fun of myself. I like self-deprecating comedy. But I'd like you to laugh with me occasionally, too.
