I think that there's a proliferation of music that is done entirely in the bedroom for an Internet audience, but there's no way in hell that you could actually kill off a live show, and its importance in the creation of music - it's just impossible.
I can remember the times when I started including humor in novels that were suspenseful. I was told you can't do that because you can't keep the audience in suspense if they're laughing. My attitude was, if the character has a sense of humor, then that makes the character more real because that's how we deal with the vicissitudes of life, we deal with it through humor.
I definitely wouldn't be the performer I am today if the gay audience had not been so supportive of me as a complete unknown.
If it's too much for people, if audiences don't accept it, well I guess that's just the way it is. I'm not being cavalier when it comes to my financial partners, but I think I've earned the right to do my thing my way. While I really want it to do well and it would be lovely if it's popular, movies are for a long time. I'm really proud of the piece. If it ends up not connecting with audiences, I won't be heartbroken. I'll be a little disappointed, but I won't be heartbroken.
The film [Django] really has a lot of ups and downs, and taps into a lot of different emotions. To me, the trick was balancing all those emotions, so that I could get you where I wanted you to be by the very end. I wanted the audience cheering in triumph at the end.
The best thing to do is to get out in front of an audience as much as you can, and learn from the experience.
When you're on a film and you're doubting something, it's usually because you don't think the audience is going to like it.
When I'm onstage, I'm more in the audience in my head than I am on the stage.
I think more obvious to others, is that I'm most vulnerable on stage. Even though I know which songs I'm going to play, I try and keep it loose and base my stage time more on what the audience is requesting of me.
All of a sudden, when you're exposed to a large audience, they think you just started writing that day, but I started years before. I look back at things I wrote then and I'm so embarrassed - the writing seems so blocky and choppy to me and I wouldn't have wanted success any sooner because the writing was even worse.
Finding the fine line between satisfying a daytime TV audience and an afternoon radio audience. That involved editing down my delivery to under an hour. I've been blessed to have great producers and a great staff to achieve that. I have a small team but they're very efficient.
Somewhat predictably, I'm much more comfortable in front of an audience - and a big audience is even better - than faced with one stranger. This always seems like a bit of a failing on my part, as a human. I think that's also why I put myself situations where I'm forced to engage in other ways.
The life you live in front of an audience is like an altered state - it's not totally real. I'm always, even in the course of one day, trying to find ways to balance both sides.
I feel very fortunate for audiences to have been so gracious as to allow me to do pretty much any role that I felt I could do. They let me play a president. They let me play a lawyer. They let me play a hit man. They let me play a father. They let me play Howard Saint.
The bigger the budget, the less an audience is trusted, and that's the difference between a big-budget film and a small-budget film.
People love conversation, and movies are conversations, and an audience has to participate; it has to fill in some blanks.
One of the things about crowd work that's so exciting is when you discover a character in the audience who's interesting or funny, who you can vibe off of. If someone's got a weird job that you can make reference to throughout, or you can bring that person onstage - humiliate them, or celebrate them! You can put people in conversation with one another. The best is when something that they're doing can reflect back on something that you're doing.
The nice thing about live performance is that I've never, ever been let down. Partly I'm lucky that my audience self-selects itself. Generally they know what they're in for, and generally we all just like each other and get along. But I always find one or two or a dozen really interesting people in the audience who make the show different. And that's one of the things I really like about performing.
When Jesus says, 'Take, eat. This is my body that was broken for you,' He says, I want my body in you. (Pause. . . shouts and claps) I want my blood in you. And every time you celebrate this rite, it is a reminder that you belong to me, and I belong to you. And he said, 'I will drink no more wine until I drink it new with you and the kingdom of God. Communion is the most romantic ordinance. Eh, Eh, Eh. (He laughs. Pause. . . the audience shouts and claps.) It is the most romantic ordinance between two lovers.
When you get just that right audience and just that right sound on stage and you can just sit back and kinda just let it happen and it's not really any work. I love those moments. Nothing can beat that for me.
I think if Unchained Melody does what I think it can do, I think there is an audience out there that would heave a sigh of relief, that finally there is a melody and orchestration, production and a vocalist that is giving them a song that they can just listen to... and not be annoyed by the vocal acrobatics that vocalists seem to think is impressive.
At the end of the day, I think that music lovers are going to love me. I think the pop songs that are on my album will be loved by the pop listeners and the R&B songs will be loved by the R&B people. I think that each song has a broad enough sound that I won't be pigeon holed. At the same time I think it is appealing to many different audiences.
A Grammy is a wonderful thing; all of a sudden you're given a new audience but, like anything, you have to be able to grow with these songs if you really want a long artistic career.
Punk is the way of those who are unable to express themselves, but they aren't dangerous; at worst, they may kill their audience.
I think that watching artists, soulful artists, they get into it. It's always the way I perform, so when I'm on stage I just try to get into it - I'm in my own world. That's the whole thing about the stage, it's like a sacred place. They're [the audience] watching into the different world, right, so it's like you see performers and they're in the same room, so it's a different vibe. Sometimes it's great, but I try to separate it, you know, I wanna separate it 'cos otherwise I feel naked. It just feels natural.
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