Quotes About Audience

Yeah, but on the U.S Tour we threw a new song into the set almost every night. Ofcourse, you can't do too many new songs every night as they've never heard it.

I like my messiness on stage, though I watch comics who come at a joke from every angle and I think, 'Yeah! That's how it's done!' But for me it's the audience. If I feel connected to them, I have so much fun, and if not, it stinks.

They kept us on the air probably a year more than they should have.

I think when you're a director, it's hard to do something unless you're absolutely over-the-moon in love with it. The audience, they spend 90 minutes with it, but for you, it's anywhere between a year and a half to three years of your life, every day, working on it.

Media is so weird; everything is so accessible now. It used to be this thing where, if you did something on 'This American Life,' this predates me, but when David Sedaris did it, for example, it would just play, people who heard it heard it, and then the book would come out a year later, and people would be like, 'Ahh, I kind of remember that.'

Anyone can be a DJ but it's understanding how to read a crowd and keeping them on the floor is what takes years of experience.

I was five years old; I got addicted to being on stage. I felt like it was the most wonderful place on Earth, performing in front of an audience, who in this case were a bunch of classmates, kids my age.

I always wanted to be a character actor rather than the poster boy that they tried to make me 100 years ago. An actor has a degree of responsibility to change for the audience, to give them something new each time, to surprise and not bore them.

Bloomberg does not cater to the Indian audience. It does display Indian stock indices, and during trading hours has a ticker tape of Indian stocks running across the bottom, but then so do most of the news channels.

I'm always about trying to fill a need with what I do in my artistry. There is definitely a need in the performing arts world for a movement to come along that seriously connects with a next generation audience while still maintaining the timeless artistic objectives present throughout the history of the American music tradition.

I want to speak in the tradition of rhythm and blues and soul music, but also push how it's dressed and how it's delivered to the audience. And hopefully that gets embraced by as many people as possible, but the goal isn't necessarily to speak to everyone. The goal is to get it out as exact as it is in my head.

I think theater and church are so relatable because it's traditional call-and-response in the way that an audience interacts with the actors.

I'm sure if we had made an album that was more traditional would have been released immediately. When we actually play this music on stage and people become familiar with it, it will become more popular.

I didn't have traditional stage fright. If there was 500 people in the audience or three people in the audience, it didn't really make a difference. What made a difference was the conductor. Everything that I was scared about as a drummer was him. It was his face. It was whether or not he'd approve of my playing.

I didn't have traditional stage fright. If there was 500 people in the audience or three people in the audience, it didn't really make a difference. What made a difference was the conductor. Everything that I was scared about as a drummer was him.

You never know how your work is going to be received, and to have it be not just received by the people who wanted it or knew about it or our traditional fan base, which is pretty big, but also having it spill over to everybody who plays games, and then those people telling everybody else who doesn't play games - that's what it became.

Big shows are more like events and small shows are more like traditional gigs.

Every time I've done comedy in, like, traditional comedy clubs, there's always these comedians that do really well with audiences but that the other comedians hate because they're just, you know, doing kind of cheap stuff like dancing around or doing, like, very kind of base sex humor a lot, and stuff like that.

An action movie should, like any other, follow the narrative traditions of literature. That means there should be subtlety, a slow build and a gradual bringing together of all the separate threads of the plot. To see all of it coming together slowly is very rewarding for the audience.

We want the game to be attractive to a new audience, but you have to be careful because there are certain traditions this game upholds. Silence over the swing, that's always been there. That's not understood by those who don't play golf.

In television, we are still catering to the middle class audience, I would not say regressive, but rooted in traditions. They still have babujis and dhoti-kurta clad characters. But in films the maas and babujis don't exist anymore.

I really think a good host is just a connector. I'm more traffic cop than star. My job is to get people on and off the program, and hopefully keep the audience entertained.

While some debate its helpfulness at generating monetizable traffic, when Digg points to a story, huge audience spikes quickly follow.

For me, social media is a one-way deal. It's like all the traffic goes one direction and I don't care how many people follow me, I don't care how many people like what I do, give me a thumbs up or whatever it is. I am here to share a piece of information that I've decided is relevant to our relationship as musician and audience member.