Audience Quotes

We kept a broad audience, and we didn't make fun of people who had necessarily made mistakes in their life and burned them to the ground. We made fun of a commercial or a movie or ourselves.

When I first started doing my comedy act, I just desperately needed material. So I took literally everything I knew how to do on stage with me, which was juggling, magic and banjo and my little comedy routines. I always felt the audience sorta tolerated the serious musical parts while I was doing my comedy.

A single prop that does not look real to an audience can louse you up. The same is true of the smallest flaw in setting up the motivation in a story line.

I've never had any idea that what I like would resonate with the audience, and I'm pleasantly surprised when it does.

I'll eventually go back to theater because the feeling of being on stage where you have the audience right there, you can't replace that with anything.

I don't sing to people. I sing for them. I told that once to Elvis Presley. He bought it. After that Elvis sang not to but for the audience. A subtle difference.

We film in front of a live audience, and I was a theater actor before I got into television, so I like that.

I'd like to think my performance is today. I never try to - it's so, as you know, watching me, I have a beginning, middle and ending. But every night the show changes and I relate to an audience and I relate to the young people.

Tell the audience what you're going to say, say it; then tell them what you've said.

But I couldn't cut that whole septic tank scene out because the audience liked it so much. So I sort of fell right back into getting a cheap laugh, but I still loved it.

There is no buzz like performing for a live audience.

There's certainly pressure to find your audience early. You need to paint the picture, but it's tough trying to find the balance between a show that people can tune in on any given week while still grabbing the people who are there every week.

The play is always fresh to me. It's not the audience's fault that I've said the words before.

I write for an audience that likes what I like, reads what I read, thinks about the things I think about. In many ways, this puts me in opposition to the people who go to the theater generally.

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.

We do have our finger on the pulse of the marketplace, if for no other reasons than having all these live events and listening to our audience all the time.

Tom is the most eccentric person I have ever worked with. We get on very well and I am most impressed with how he can hold an audience in the palm of his hand.

When I play live, it's a conversation that we're all having with the song, and the audience... their response and relationship with the songs is as valid as my relationship with the songs.

In Poland, my audience is all women between 18 and 30. At U.S. conventions, you have the fantasy and science fiction crowd. At Harvard you have an entirely different audience. It's so schizophrenic.

To me, there was nothing greater than to play for an audience and to entertain people and that has stayed with me all these years.

My movies are, more or less, very short. I'm terrified of boring an audience.

For anyone who works in front of an audience there is no thrill quite like that of feeling and hearing the evidence of the audience members' enjoyment. Laughter and applause really are powerful.

I'm really busted up over this and I'm very, very sorry to those people in the audience, the blacks, the Hispanics, whites - everyone that was there that took the brunt of that anger and hate and rage and how it came through.

When I'm writing, I'm constantly thinking about myself, because it's the only experience I have to draw on. And I don't see an exact reflection of myself in every face in the audience, but I know that my songs have validity to them, and that's why the fans are 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.

When I was younger, I would go to auditions to have the opportunity to audition, which would mean another chance to get up there and try out my stuff, or try out what I learned and see how it worked with an audience, because where are you gonna get an audience?

When I'm talking to a large audience, I imagine that I'm talking to a single person.

I'm perfectly happy when I look out at an audience and it's all women. I always think it's kind of odd, but then, more women than men, I think, read and write poetry.

I never heard nobody in my audience call me any kind of names.

I think there was a sense that the impact was being lost because the audience was so familiar with the form. You combine that with people's attention spans, which are clearly conditioned to be shorter now, and there's a need to vary the paradigm.