When you get off stage, the audience should know a little bit about you. Not where you are from, but how you see the world. And that's the difference between like a Chris Rock joke, and like an open-miker.
Every week for me was the same audience, and every week they heckled me. The better I got at comedy, the better the audience was at heckling me. But it helped me with my joke writing.
It's a simple and an effective way of getting everyone on the same page, prepared and paying attention to the gag. People just get into that frame of mind of you doing impressions. It can take a minute or two for an audience to catch on when you aren't doing one.
With basketball, if a guy is having an off night you still can say he's a good athlete. But with a comedian, you see them in front of the wrong audience - and they can look like complete amateurs. It's remarkable.
I really shine in front of prominently Jewish crowds. Normally I really beat myself up, but as far as Jewish audiences go, I'm at the top of my game.
I don't come on to seduce the audience. I don't care if everyone laughs. I can't think about that anymore. If there's anything that a lot of experience on stage and a lot of stage time gives you is the confidence to know that it's ok if they're not laughing every second you're up there. Although that's what drives me and I still go too fast a lot of the time.
I think the audience should take away that it's okay to be smart, it's okay to be funny and well-learned. You can be from academia and be funny; you don't have to be an idiot.
I still don't really know what my style is. I like a lot of different kinds of comedy, I like watching it and I like being inventive and original. That's the problem with doing a longer set - you can't do every joke that you have because some stuff contradicts other stuff. Even when you know that the audience knows that you're joking and it's not true, you still can't do a joke about your family dying and then later talk about your Mom. I mean you want to keep some kind of cohesive order going.
Man, you can come see me six or seven times in a row and you'll never see the same show twice, because I don't like to be robotic onstage. I like to perform for that particular audience.
I think comedy evolves constantly. I reinvent myself all the time. I always find a way to entertain myself because I truly believe you have to entertain yourself in order to relate it the right way to your audience.
When you're on stage performing stand-up, things only happen one time. I've done bits where I improv a joke, and people are dying. The next show, I try to repeat it, I can't do it. Because with the first audience that was our moment. It can't happen the same way again. We were all there: a certain type of people were at that show and we all got it.
I think what I do in my acting world and what I do in my standup world is bring up a brand that I want to bring across. Once you figure out your brand and what you do, it's kind of easy at that. You end up getting your audience.
I came from the Groundlings Theatre in L.A., and there, you're guaranteed to at least try something out in front of an audience. At 'SNL,' only the best stuff gets picked, and it's taught me a very defined language of comedy. You learn the structure of a joke, which is not something I was very good at beforehand.
Australians just don't see that many Australian films, but it's also our responsibility as filmmakers and the responsibility of the funding bodies to remember that audiences want to be entertained, and people are entertained in lots of different ways.
When I was in high school I made the discovery that if I was playing in a jazz club, and there were black people in the club, if I could get the black people to like what I was doing, I was on the right track. So I began to play to those people because they knew what the authentic music was. I've always had that in the back of my head.
If they [the crowd at The Apollo Theater] don't like you, they will let you know. When you didn't have any talent, they would let you know about it -- and not kindly. There'd be things like "Get off the stage!" and certain expletives we won't say here. It was a rough audience.
What's always struck me is how different the sensory, especially auditory, experience is when you're in the middle of the music with the musicians playing off each other around you. I wanted to find a way to unlock the intensity of that, to recreate that unique perspective, first for the hundreds of people who attended the concert, and eventually for a much larger online audience.
Sometimes one is without the pleasure of playing. But when the silence of the audience is perfect, we recover that.
The question if this is a work of art or not is not very interesting for us. Probably it is situated in between the established categories. Anyway the audience which is interested in art would be the most open-minded and willing to think about it.
...in the theatre the stage keeps the audience aware of the fictional nature of the action. The reader poring over a magazine, on the other hand, identifies what he sees in the photographs as real.
Making something new to look at is a futile and empty act if its only audience is the eyes.
I'm designing a seductive frame to attract an audience to a subject they would otherwise ignore. And that's what I do in all of my photography - give a stage to things that wouldn't normally receive that stage.
You have to assume that you're talking to the most intelligent, tuned-in audience you could ever get. That's the way you're going to get the best out of people. Whether they know you or not shouldn't matter for comedy. They should get to know you pretty quickly. and they should be having a good time pretty quickly.
To have a blog is to have some portion of your brain assigned to monitoring your audience.
That is Obama's signature move: Invent people who are saying ridiculous things and then encourage the audience to laugh at these made-up buffoons.
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