With theater, depending on the audience, the show is different every night and really requires your constant concentration. With film, it's more possible to focus for shorter, more intense bits of time.
The first time I got up in front of an audience was terror, abject terror, which continued for another four or five years. There still is, a little bit.
In theater, the show must go on, so you train yourself to be able to nail it every single time because that's what the audience deserves, and that's the magic of live theater.
After The Silence of the Lambs and Hannibal, the audience would like to know where, when, and who arrests Hannibal Lecter for the first time. This is the story of Red Dragon.
With a play, for me, there's no time to sit back on it. You're living on your instincts. And every night there are subtle changes and adjustments, because what's in front of you is a living, breathing audience.
Certainly, there are huge, multiplatinum bands whose singers command their audience's attention. Sadly, much of the time they have little to say.
I don't have a Twitter account. I don't go to fan club gatherings. I'm not one of those actors who spends a lot of time engaging with the audience.
I think that will be a lot of fun for audiences to get the same stream of consciousness that was going through my head at the time. It was very exciting to suddenly recall what I was feeling at the time.
The greatest benefit of being a solo performer is that it is seriously frightening, but at the same time very empowering. It's just you and the audience. All the weight is on you to deliver the songs.
You pay your money, you take your choice. I get the audience my language attracts and I lose the ones it repels.
I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.
The hardest thing to get is true emotion. I always believe you need to earn that with the audience. You can't just tell them, 'Ok, be sad now.'
I've realised that if I aim for a successful record, I probably won't have any success. But if I keep making weird things, then hopefully the audiences will come to us.
I don't know why, but audiences are often sympathetic to thieves. Sometimes they are more sympathetic to thieves then they are to earnest people. What does that say about society?
I want to be true to the character and maintain some consistency and give the audience what they love while at the same time keeping things fresh and grow the character.
I love the theater. I love being on stage; I love the live audience. I also love dressing up and all of the make-believe.
I love talking to the audience, and I must be the luckiest performer in the world. I always land something or somebody that just takes off.
I love to be a vessel through which characters can come through. And if I can move an audience with my work, then I've done my job.
Applause that comes thundering with such force you might think the audience merely suffers the music as an excuse for its ovations.
I expect the audience to come up to my level. I am not interested in compromising my music to make it palatable to an assumed sub-standard mass.
I didn't try to think what my audience wanted and then make the music accordingly. I made the music and hoped that as many people liked it as possible.
