I can't say what my greatest strength between acting and singing is...I'll leave that to the critics. Maybe my best strength is performance itself, being with the audience and feeling what they feel, bouncing off of them.
I knew that I wanted to create rich themes, and something that people might really relate to emotionally. That was the quest, authenticity, and then just to make the audience feel something.
There's sometimes a little bit of a trap to limit yourself for an audience.
I like making money like anybody else, and I'm paid well, but I think there is a point at which you can out-price your audience or your base.
I think sometimes maybe you're going to connect with the audience more than others, but the journey is about getting all there is to get out of this group of people.
It's important me as a musician and also as an occasional show goer to feel the presence of a band on stage, to hear a PA reverberating and slapping off the walls, the push and pull of an audience, the blood, sweat, and heat. It's a primal thing in a way.
With touring, it's like you're in this car and you've got this much fuel. You know that if you drive carefully and take your time and search your way so that you don't take the wrong turn, you'll have exactly enough fuel to go where you're going. You are empowered as you go by your audience.
There's the false security of feeling a great force of love from your audience one day and then the next morning you wake up and you're exhausted, and that love is something you have to reach for the next day.
I'm not too embarrassed to say I'm the definition of the target audience. This is my generation, the one of exalting music in album form.
For better or worse, I've become the person the Adams Estate has entrusted to guide Dirk Gently into new mediums and to new audiences. I take that responsibility pretty seriously, which is, I'm guessing, where Ilias's comment about me being a "hands-on collaborator" (code for control freak) comment comes from.
There's another thing that you don't want to take for granted, and that's the reality of there being an audience there each night. It's pretty amazing that that can happen around the world.
To stop for years and then discover that the audience is getting smaller and smaller would be demoralizing.
When you're making the record, you're not thinking about an audience, but you still need them and you want them.
With television you are producing hours and hours of music and for film it is a shorter experience for both the audience and for you as a composer.
I like to be a little more difficult to nail down that that just inside myself, but when someone's motivations, even if they wind up falling in one side or the other of the debate, when they're personal and also when they're masked by something that only the audience knows is really their motivation, that to me is just what I call entertainment.
Playing to bigger audiences at festivals got me in the mindset of writing music that I would sing to a crowd.
There are obviously people who want to be very niche, but I think for the most part everybody is trying to reach a larger audience.
Whether I'm directing live action or animation, my responsibility is the same. I have an audience sitting in a theater with their popcorn, and I've got to show them a good time and make them feel something.
I have a set of images that go around the world in an art gallery installation. Each of them have different audiences, and they kind of each elucidate the subject in a slightly different way, and they ping off of each other.
Miss Havisham is an important feminine literary figure in the tradition of Antigone (though it's significant that Antigone is fighting to bury something and Miss Havisham refuses, as it were, to bury the corpse). Like Hamlet, she's focused on what everyone would rather not know or would like to forget, and she seems crazy / stuck as well as bitter, but she's also a perfect prototype of a performance artist. She's intentionally hard to deal with inviting the audience to remain with the violated body, the evidence of violence.
The performance group The Ant Farm redoing JFK's assassination in Dallas was an event that struck a chord with me, especially when one of the members said they'd only intended to do it once, but the Dallas audience insisted they repeat the performance.
Audiences tend to dig the earlier stuff by any given musician, and the artists themselves always tend to prefer the thing that they're doing now.
Musicians and artists are not... it's not like politicians or something where you can't really affect them. There's not like this separate caste system where it's like, "I'm the musician, you're the audience. Never the two shall meet." It was a case where it was like, "Hey, you know what? I'm on your level, man."
I think about all these influences and musical cultures, then the opinion of the audience is of course important, but when I'm working on an album or a new project, I'm not all the time thinking about what the audience will think about it.
Of course I am stressed after I finish working on an album about what an audience will think, if it will be successful or not.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: