If all the world is a stage, and all the men and women merely players, where do all the audiences come from?
As with most great communicators, God knows that the point of silence and the pause between sentences is not to give the audience the chance to fill the silence with empty babbling but to help create more depth to the conversation.
I wish I could create an IMAX film that would make my work accessible to a broader audience.
I've seen racism in my audiences. For example, I've seen people laugh at every other group, but then clam up when it comes to their community. You can't laugh at everyone else and then not laugh at yourself. You shouldn't be at my show if you can't laugh at yourself.
It used to be that you needed a $500-million-a-year company in order to reach a worldwide audience of consumers. Now, all you need is a Steam account. That changes a whole bunch of stuff. It's kind of a boring 'gee, information processing changes a stuff' story, but it's going to have an impact on every single company.
I made a point of always teaching undergraduates because they are not a captive audience. . . . I always tried out my research ideas first in the classroom to get feedback from people who didn't have to listen to me if I didn't make it interesting.
Ninety percent of films are pretty mediocre, but they have a built-in audience and open on 3,000 screens.
When I'm doing an appearance somewhere and taking questions from the audience, I can always count on: 'Tell about the guy who died on your show!'
Drama began as the act of a whole community. Ideally, there would be no speculators. In practice, every member of the audience should feel like an understudy.
Tailoring the facts to fit one's theory constitutes neither good science nor good journalism. Rather, it is intellectually dishonest and, when published for consumption by a mass audience, adds up to propaganda.
The audience perceives only what the actor wants to do to the other actor.
Unless you connect to the text, the audience won't be able to connect with you.
For those that don't know much about 'American Idiot' or Green Day, just know that it's my generation's The Who's 'Tommy' or Pink Floyd's 'The Wall.' It was an album that really spoke to a generation. The theatrical show encapsulates that feeling and brings it to an even wider audience.
Stop thinking about the audience and what they may be thinking of your music. Just play the music.
The audience, they're not professionals. They just love music. It isn't necessary to play over their heads to be admired.
Have fun, entertain yourself with your work, make yourself laugh and cry with your own stories, make yourself shiver in suspense along with your characters. If you can do that, then you will most likely find a large audience; but even if a large audience is never found, you'll have a happy life.
There should be a name for this, for the process whereby one knows one is being yanked and concedes it has been done successfully - that one is grateful to have been spun. In the theater, it is called the willing suspension of disbelief. That's what allows the play to make an impact on the audience: they have to be able to make believe that what's happening on the stage is really happening. Maybe to a degree it is a requirement for all political participation, all effective political communication, too.
Look at all the drug busts all over the country. There must be an audience there somewhere. My feeling is that if we're losing the war on drugs, let's do a movie for the enemy.
When my head is in the typewriter the last thing on my mind is some imaginary reader. I don't have an audience; I have a set of standards.
When I write, I lose time. I'm happy in a way that I have a hard time finding in real life. The intimacy between my brain and my fingers and my computer... Yet knowing that that intimacy will find an audience... It's very satisfying. It's like having the safety of being alone with the ego reward of being known.
All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.
I always wanted to live the lives of different people, portray characters that are different from me. But I could have done that in front of a mirror, also, I didn't need to do films for that. At the end of the day, it's this fame, recognition, popularity, the love and appreciation you get from your audience that drives you.
I've always been just as interested in making people think as I am in making them feel, and one of the things this scientific process allows me to do is make the audience look differently at dance.
'Entity' is not about science. The process behind it may dictate the nature of the piece, but it's not like a dance about Einstein where I'm trying to convert his ideas into movement and communicate that to an audience.
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.
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