Quotes of All Topics . Occasions . Authors
In today's time, writing stuff that actually happened is touch-and-go, because you don't want to be too personal. If you are, then it probably won't relate to a mass audience. A lot of times you have to make it sound like it's about everybody else, but you really went through it.
If we make films only for the frontbenchers, we can't make money. Hence, we have to make it for a majority audience. As my films are mass films, I deal with emotions in raw form - they are not subtle. I don't mind being branded. That does not mean I like only those kinds of films.
If you're a new artist, practice your art and share it. Set up shop somewhere, whether it's a street corner or a coffee shop. I got my start in a coffee shop that didn't even have live music. I wanted to play in coffee shops that did have live music, but I didn't have an audience.
People are out of their home on a Saturday night or they're at the movies or they're at dinner and a lot of the people who flip on the television are doing just that. They may have never seen your show before and you can't count on to your audience to be there week in and week out.
The centerpiece of 'Law and Order' is the crime, and it starts with the writing. There's a beginning, a middle and an end. It allows the audience to watch any given episode and can drop right in and not feel lost. I think the stark, raw structure has a lot to do with its longevity.
I watch films, so I know what it is to be there in a theatre as the audience. So I always want to communicate with them when I make films, but that is not the only thing. I also want to say something which I feel deeply, and which I feel I can connect with the rest of the audience.
Over a period of time, if you have a successful show, then you have a devoted audience. I feel you owe something to them. That goes for everybody - writers, camera operators, actors, studio executives, etc. Sadly, I've realized it's a responsibility that very few people live up to.
I don't have a favorite genre. I love to work and live vicariously through every character. It's all about trying to bring the character to life and get the story across in a way that resonates with the audience. It's always interesting and challenging in a gratifying and unique way.
You never saw Peter Sellers the actor trying to make you laugh. All he was doing was the character. What I'm saying is that I don't think you should know you're in a movie. I don't like it when actors are winking at the audience and saying, 'Right, isn't this funny? Are you with me?'
All performers get on stage because they need to feel love from an audience. I might appear confident, but those three seconds before I get out there, I'm a mess. But I have to take the risk; otherwise, I'd be miserable and would feel like I wasn't seeing through my personal destiny.
I think it's the responsibility of a major opera house not only to cultivate debate and get people thinking, but also to be interfaced with things that challenge them. To challenge its audience and not just deliver things that they know, even though some of those things are wonderful.
There's something about being in front of a live audience that's fun. It's a really interesting, very electric, very alive, and intense experience, and you can't get it anywhere else. And I've been doing it since I was 23, so it's part of my being - it's part of my fabric as a person.
I make a great part of my living by traveling and speaking. To me, it's like being a politician, you meet your audience, you constantly see the people and they're getting younger for me which is really, really encouraging. I get older and my audience gets younger. It couldn't be better.
Write as if you were dying. At the same time, assume you write for an audience consisting solely of terminal patients. That is, after all, the case. What would you begin writing if you knew you would die soon? What could you say to a dying person that would not enrage by its triviality?
As an actor, I've grown considerably. For example, it's taken me years to get comfortable doing a romantic scene and dancing on stage in front of a live audience. I do it a lot better than I ever did. I've really opened up a lot. And I'm glad I have because I'm being appreciated for it.
When I've been on shows as a guest, I'm backstage, so I don't usually hear what the warm-up is saying, so I went and watched a couple of people do it and thought, 'Actually, I reckon this is do-able.' The audience is usually excited to be there; it's just getting a good chat with people.
The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say 'sophisticated.'
My kids are my No. 1 priority. They're the light in my everyday life. The sunshine. The miracle. Those eyes. Those smiles. At the same time, I have an extended, amazing family that is my audience. All these people have been with me for such a long time. I have these two responsibilities.
Something that I think extends to a lot of African cultures is that the line between performer and audience is blurry. My mom would lead the wedding song regularly, and she isn't a professional singer. Even as an audience member, you're expected to clap and sing the response to the lead.
Diversity is essential to the success of the news industry, and journalists must include diverse voices in their coverage in order to reach a broader audience. We have stories to tell, but many in our audience have stopped listening because they can tell that we're not talking about them.
The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker I know is speaking clearly to the audience 'right now.'
The true art is being able to take whatever the writer's done, and if it is a bit flimsy or it is a bit rushed or is just box-ticking writing, then the true artist would be able to make that come off the page and sing for an audience or a viewer. I'm still learning how to do that properly.
During 'Saturday Night Fever' at the end of the first act dance number I tried to perform a split-jump, only I can't do them so I ended up on my ass followed by the most unsightly backward roll out of it, followed by the cast falling over in laughter and a good portion of the audience too.
I was fascinated by all of it. The sounds of the theater and the audience, their rapture when a play took over and moved them and held them quietly... When the audience was truly moved, it was absolutely quiet. They were in a communion because they were learning the truth about themselves.
There are a lot of things that are personally uncomfortable to show, especially me without makeup and completely bloated or crying. But I've realized that it's time for me to show my audience that you don't have to be perfect to achieve your dreams. Because nobody relates to being perfect.
The success of the storytellers - we're only as good as what we can withhold from the audience. Aspects of surprise and letting things play out for the audience - it's so much a part of their enjoyment. It's one of the great things about working in the movies and being a great storyteller.
In television, there's this weird sense of isolation from your audience; you kind of get this feeling that you write the show for you and your wife and your friends and the other people who work on the show. It's our little show, and then it goes out into the world, and somebody watches it.
In France, they call the people who come to the theatre 'les spectateurs'; in Britain and Ireland, they are the audience, the people who listen. This does not mean the French are not interested in language. On the contrary. It actually says more about the undeveloped visual sense over here.
Know your target audience. Always keep them at the forefront of your mind. Understand their lifestyle and what they are looking for. Gather their feedback and use it to tailor your approach. The voice of the consumer is an essential input into the development of any fashion business or blog.
On one show before a live audience, I had to look out the door and call for Will Smith to come in. The audience couldn't see him, but there he was with his naked butt staring me in the face. I didn't normally hang out with twenty-something practical jokers, so sometimes he was a little much.
When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.
I felt really lucky that 'Hairstyles Of The Damned' and 'The Boy Detective Fails' were both bestsellers, and I thought that donating the money from 'Demons' was a good way to respond to that. My favorite artists are the ones that are willing to experiment, even if it means a smaller audience.
We feel like 'Lost' deserved a real resolution, not a 'snow globe, waking up in bed, it's all been a dream, cut to black' kind of ending. We thought that would be kind of a betrayal to an audience that's been on this journey for six years. We thought that was not the right ending for our show.
It is important to keep the filmmakers interested in you so they can offer you everything and anything. We actors are not given work on the basis of audience poll; the filmmaker will cast you after they see and like your work. It is essential to do different kind of films and not get typecast.
As much as only playing clubs can become tedious, performing in huge venues can also become off-putting. To go from one to the other feels great. And sometimes playing clubs can be even more stressful, because you really have to think about what you're going to tell the audience between songs.
Home gigs can be hard because it's an odd collision. More than anything, I feel self-conscious when my family are in the audience. I'm doing this job which is not quite acting - part of it is me, part performance. You're presenting a cartoon of yourself to people who know you as a line-drawing.
I'm not one of those kind of people who does the observational 'Hey, don't you hate it when you're at the grocery store and the line's long and the cash register starts taking too long.' I don't really do that kind of stuff. I'm heavy on persona, and I do a lot of interacting with the audience.
I can't understand Urdu, Bahasa or Russian, but when the Pakistani Faiz, the Indonesian Rendra and the Russian Rosdentvensky declaim, I can feel the living throb of rhythm and music, the warmth and passion of their poetry, as do the hundreds, not a mere roomful, of poetry lovers in the audience.
When I first envisioned 'Funny Games' in the mid-1990s, it was my intention to have an American audience watch the movie. It is a reaction to a certain American cinema, its violence, its naivety, the way American cinema toys with human beings. In many American films, violence is made consumable.
The key is to constantly keep the audience surprised. If they feel like something is going to happen, or they think from an educational standpoint that something is about to happen because of all the moving parts, it is your job to break that expectation and show the audience something different.
I put my life in danger every time I do some of these demonstrations, whether it's in the audience hanging upside down or on the stage. We now have a lot of dangerous stunts where anything can go wrong. In fact, I have fallen two stories and landed on the stage, so I am well aware of the dangers.
Don't forget there are two sides to performing. Finding the truth, but you also have to be transparent enough for the audience to see it. How many times have you seen a performance and thought: 'Well, it seems to be meaning a great deal to you but it ain't coming across to me?' It is to be shared.
TV is still a 'push' medium - we are broadcasting into any home or business with basic cable, and depending on what's happening in the world, we have a wider audience, from news junkies to very sporadic viewers. On TV, you want your reporting to be valuable to that entire audience and be relevant.
With all of our big-hit shows - like 'Big Bang Theory,' and even 'How I Met Your Mother' - when they first started, you have multiple characters to service, and you want to make sure that the audience has a chance to get the concept, get the emotional arc, and really engage with the relationships.
In point of fact, I'm not sure there are too many comedies with laugh tracks anymore. Most of what you hear is live studio audience laughing as a show is filmed. If this prompts you to wonder who those actual human beings are who are laughing at some of this stuff, that is a mystification I share.
The music is something outside myself that's also inside myself... Music and a sense of another presence always went hand in hand. Even when I was three, I would improvise music, and my maternal grandfather would act as an audience and used to applaud. I would imitate things like thunder and rain.
While digital wallets are paving the way for the future of payments, you still need to assess whether or not they'll work for your business. If your target audience are less tech-savvy or you're primarily a cash-only business, it may not be worth investing too much into accepting digital payments.
A lot of stand-up comedians are actually very insecure, and they come on slightly battling the audience. They want to be the superior person in the room, sneering at the world. That can be very funny. But to me, what's more interesting is that the world is on my shoulders, and it's pushing me down.
At Burning Man, the audience is the show: the boundaries between stage and public overlap and melt. Every form of self-expression, every fantasy... everything has a place. It's kind of a utopia, and everyone who sets foot in it is so impressed that they do their best to respect it and keep it alive.
In the '50s, audiences accepted a level of artifice that the audiences in 1966 would chuckle at. And the audiences of 1978 would chuckle at what the audience of 1966 said was okay, too. The trick is to try to be way ahead of that curve, so they're not chuckling at your movies 20 years down the line.