Quotes About Audience

I had to host a comedy show the day after 9/11, and I really knocked it out of the park. But that was before the Internet really took off, so the only people that know are the people who were there.

In drama, I think, the audience is a willing participant. It's suspending a certain kind of disbelief to try to get something out of a story.

I have no problem with bands using participant financing schemes like Kickstarter and such. I've said many times that I think they're part of the new way bands and their audience interact and they can be a fantastic resource, enabling bands to do things essentially in cooperation with their audience. It's pretty amazing, actually.

In most audience-participation shows, the participant is so clearly not a part of what's going on that it's the fish-out-of-water aspect that makes it funny.

You have to know you are in a comedy. You have to know that you are actually allowing the audience to participate on some level. When you go dark and mean it, then you don't let them in.

There's a lot of audience participation in 'Rock of Ages' and 'Rocky Horror.'

Movies alone have the hideous capacity to do everything for you. So in directing movies, you have to figure how to leave things out - because when you leave things out, you evoke the imaginative participation of the audience.

Audience participation can often inject a dose of adrenalin into your average dial-tone literary reading, especially if a handful of audience-members are mentally unhinged, and let's face it - you can always depend on at least one crackpot at these things.

Wrestling, at its core, is all about fan and audience participation and fan interaction live in that Arena. Live in that bingo hall, live in that gymnasium, whatever it is, man, I've wrestled in all of them.

I don't write for a particular audience.

Which is why, in my lieder concerts, I always strove, when possible, to sing only the works of a single composer, so that the audience could be gradually drawn into a particular creative genius' way of thinking, and could follow him.

I feel that, particularly because of language, we are handicapped in getting a large world audience. But Hindi cinema has the same ingredients that appeal to the whole world.

The Canadian audience is very critical, particularly of their own content.

As far as I was concerned the important thing was that the music was getting the attention as well as me so it was always a great way to get more of the public to connect with classical music, and opera particularly.

I can tell how I'm doing, and I can tell if the crowd is particularly dead.

If you are identified with certain opinions and an ability to express them, and if you can build yourself an audience, a partisan fan base - measured through social media - then you are an official opinionator, monetizable through books, television contracts and the speaking circuit.

I've become 40, my audience is partly the same age.

I have to visualise my jokes, live my jokes, feel the audience because every audience is different. It's like having a different dancing partner every night.

I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner.

In terms of PPV, you've got to have the right dancing partner.

I've been looking for an opportunity to break into the Chinese market due to its devoted and passionate audience and have found the perfect partner in Cristal Pictures.

Movies like 'Partner' and 'Mujhse Shaadi Karogi' do really well. I think I should also do such movies.

I like risky parts - abrasive characters the audience won't necessarily like.

When I composed a song on Bhagat Singh, it flopped. But my other songs about partying and all that are superhits!