Hollywood has to appeal to the broadest audience, and when it comes to most social and economic issues, America is progressive. Because of that, the messages that are in Hollywood movies tend to be, for instance, pro-environment.
Performing is always my biggest rush. The energy is boundless from a great crowd. I truly believe in energy as a force that is exchanged, especially in a performance situation. You give your utmost and the audience gives it back tenfold.
Immediate gratification of a live audience makes me come alive. I miss performing in theater. I'll make my return to the stage eventually.
I felt like I was cheating myself of those communities and cheating the audience because I wasn't able to know them. That's what the bikes did, without me having to put any arbitrary philosophy on what it was supposed to be. It enabled human connection.
I'm in a position I never imagined I'd be in as a musician. Bob Dylan built an audience through recording and live shows. The opportunities for an artist today are totally different.
Where I think that 3D will fall apart is going to be as audiences now get treated to incredibly artistic utilizations of space. I think the films that are just sort of done as 3D transfer type films, the audience will perceive the difference in that.
I think when you write an enigmatic character into a film, you have to have real confidence that the audience are going to go with it.
I don't think you can ever please all audiences.
You don't have to underestimate your audience anymore. They'd actually like to laugh a little bit. So, the character came to me and once it's got its grips in you, there's nowhere to go.
It's true that laptop performances can be boring for the audience. The problem is, the organizers of events are still putting us on the classic "rock stage," instead of trying to find new ways to present the music.
I love audiences, but they're not there to drive the bus. Whenever you ask opinions or anticipate opinions you can get pretty terrible art, or non-art. You need a single guiding intelligence, even in a collaborative form.
If you write a screenplay that gets circulated, you have a bigger readership than any literary novelist. And it's an educated audience as well.
To put it in my music, that's not the message I am trying to send out. That's not the type of artist I am trying to be.
We're committed to giving the independent artists we support the best stage to share their mind-blowing work with audiences.
I still make music. I still write music and I record music, I just don't trust music promotion [and] distribution right now enough to record a new set of diligently worked-upon compositions. I do trust the audience and the audiences very much.
I valued the experience of making the recordings, and I value the performances contained therein, and I value so much of what they can represent. I also think they're a terrific listening experience. Putting them out this way was a way of trying to maintain and nurture the relationship with the audience and also shine a light on the recent past, because we are so apt to be forgetful as human beings that there was such a thing as a recent past. These are some of the reasons for making this record.
There are a limited number of promoters out there who care about creating music. You rarely meet a promoter who's like, "I want to be responsible for the best shows, I want to make sure that these are the best shows these audiences have ever seen."
I really enjoy the pastiche storytelling of watching separate stories slowly collide with one another. The audience gets to participate in trying to guess and decipher how one story will connect with another.
With the casting in Israel, sometimes there were four or five people, that you could just flip a coin and choose from, that would have been all terrific. And seeing all of these fabulous faces that the American audiences are just not used to seeing is really exciting.
I think I have a really diverse audience. I've had people from all sorts of sexual persuasions.
As a late teenager, the punk movement pushed me further. In particular, the Clash, which happened to leak through the time of disco, showed me that there was this cross-cultural sound that could cut across genres and audiences. Like punk was to disco, rap music was a rebellion against R&B, which had adopted disco and made it worse.
You don't do pictures because the audience is ready for them. You do them because there's something gnawing at you, something inside.
There's a lot of content out there that's for an older audience but what struck me was that people who like those grittier, slightly punchier shows could still watch this but with their children as well.
If you can have a show that has quite strong morals and cover important themes but be able to put them out to a broad audience, that's an interesting thing.
I would like to do something really big and then something really small, and see what it's like to work in that way, but in front of a live audience.
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