Quotes About Audience

As far as engaging with fans... it's a tricky thing. I enjoy seeing the feedback on Twitter, etc. It's probably the actor in me.

The distance between me and my readers is the Internet. I can communicate with them and respond to every email I get or every mention on Twitter.

You write for two people, yourself and your audience, who are usually better educated and at least as smart.

People from the beginning of time have always loved to watch two people in competition with each other. You go back to the gladiatorial shows, there's just something about it.

When you go to a concert, part of being there is that you're all hearing the same thing. It's about being in a crowd. If you go to a gig and there are two people there, then it's not the same thing.

Look, you know, you can't please everybody. I'm a stand-up comic. I know that. It doesn't matter how funny you are and how well you do, there's two people that are going to walk out of there hating you.

I still enjoy performing, whether it's in front of two people or 2,000 people, but it's not fun once you leave the big show.

Even though standup seems like one-way conversation, if you're doing it right, it's actually a two-way discussion between the comic and the audience... the audience just happens to be communicating through laughter.

It still amazes me how many musicians aren't really interested in engaging with their audience at all. Alfred Brendel, a pianist for whom I have the greatest respect, has described performance as a sacred communion between the artist and the composer. But what about the audience? Music is communication, a two-way street.

For myself and Tyler Bate to go out there and show what we can do in front of an audience that probably isn't that familiar with what we do, I'm grateful.

I think that Tyler Perry's genius really has been to tap into the domestic market. He knows what his audience is based on, having toured America for so long, and then giving them the blueprint for his films prior to the films coming out, and then the films have the built-in audience because they've seen it in theaters already.

I wrestled Tyler Breeze one time when there was, like, 20 people at the show.

Animation is the one type of movie that really does play for the entire audience. Our challenge is to make stories that connect for kids and adults.

When you're headlining, people are paying to come see you specifically. It's a different kind of pressure, because you've got to deliver. You've got to give these people what they paid for. It's a different mind state, a different type of mentality, but it's honestly a pretty good problem to have, you know?

The people at home don't care what your problems are. They just know that you're doing that show and you're supposed to do the best you can do. It's not a 9-5 type of job. I've considered myself very lucky to do that kind of work.

I don't think Fox News or Rush Limbaugh need Clinton it turns out. I think there's a hunger out there for - whether it's on the left or right - a more lively and provocative type of political journalism. I think Salon and Fox on the other side have both benefited from that.

My work in the theater began to shift more towards young audience type of work and education programs for children, arts education programs.

I've never tried to reach a certain demographic of an audience or try to say, 'OK, now I'm going to do this type of film to transition myself into more adult roles.' Or a romantic hero. Or whatever it may be - you know what I mean?

I attend surprisingly few shows. The type of theater that is popular today just doesn't appeal to me.

Every time the guys were knocked out by my guitar playing and the girls were knocked out by the type of songs I did. That set us apart from the average blues band.

You are still lucky - you have a certain type of people who keep buying your music - but then you can get typecast and have to keep making that same music, and you can change only slightly. It's risky to bounce around and change your type of music.

A lot of actors seem to dislike typecasting these days. The funny thing is, that's a fairly recent development. It used to be that actors wanted to be typecast so audiences could remember them and identify with them.

I started off with films similar to 'Blood Money' - intense, emotional dramas. But as is often the case, the industry and audience typecast me and I decided to break away. Hence, followed a spate of comedies.

People like you in negative roles, they want to see you only in negative roles and thus you get typecast. At the end of the day, what matters is whether the audience loves you or not.