Social media is much more than self-promotion. It is a two-way street, a set of tools that allow you to reach out to people and become the bringer of positive things and experiences. In turn, these people will not just support you. They will be there...
Being on stage was all about the palpable energy of a rapt audience hopefully buying into a life onstage. The immediate connection with the audience was the best part for me. The camera is not as fun, but your work is preserved forever. There's immor...
In recitals, you are naked before the audience - well, naked with your jacket and tails. The audience sees and hears the real person, not some role you are interpreting.
I don't believe in elitism. I don't think the audience is this dumb person lower than me. I am the audience.
We try to connect with the audience as much as we can. We feel the energy from the audience, and it gives us so much joy and inspiration.
The only thing that really matters in the initial part of my career, the worst mistake I've ever made was try to do things to please the audience thinking how the audience is going to respond if I do this.
You have a specific, defined audience-at MTV, they assume the audience to the news is 15 to 30 years old and they do a lot of research about the things they're interested in.
Pilots are so hard because you have to introduce all these characters, you have to hook an audience, and an audience has such a smaller attention span than maybe they used to have.
I have to visualise my jokes, live my jokes, feel the audience because every audience is different. It's like having a different dancing partner every night.
For anyone who works in front of an audience there is no thrill quite like that of feeling and hearing the evidence of the audience members' enjoyment. Laughter and applause really are powerful.
London audiences are tricky, too. They don't laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.
You start as an audience member and create a world you're interested in, and then you move into the telling of those stories, bringing what has interested you as an audience member.
They're getting more and more experience on what to expect, and the Hellboy audience is such a faithful and fanatic audience as I am, and you have to really be very open about what you do.
When playing any song in front of an audience, you're watching them experience it, and it changes. In a lot of ways, it's almost like the music is just the background buzz to what's happening between you and the audience in the room.
Any film that exists that is thorough, you can't give it to an audience of one and have that be effective communication. Communication involves an audience of many that have a conversation, put it through the ringer, filter it and then a sense of it ...
I never think in terms of target audience. I try to write what makes me laugh, so I'm the target audience. I guess I just hope there's another person in America like me.
One hopes that with a book or movie, the reader or the audience will emerge from it thinking. That's the most you can hope for: that you've raised questions that will be there for the audience to think about later.
I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.
When you're a storyteller, part of the process of storytelling is the kind of communion you form with the audience to whom you're telling your story. If some segment of the audience doesn't like that story, it doesn't feel good.
I did a 'Golden Girls' once, which shot in front of an audience, and that went well. I had a good time. But I need an audience, for comedy at least.
I can never remember being afraid of an audience. If the audience could do better, they'd be up here on stage and I'd be out there watching them.
