You start as an audience member and create a world you're interested in, and then you move into the telling of those stories, bringing what has interested you as an audience member.
Son-In-Law was kind of my crossover. It was the movie that brought me out of the MTV audience into the mainstream.
When I got to LA and was with the James Gang, I got the opportunity to write a lot, to play in front of large audiences, make some money.
I've passed on a lot of huge-money jobs. Money doesn't enter into the decision-making. If I do a big blockbuster, it's about how big an audience you'll get and where you can take them.
I wasn't necessarily frustrated in Fall Out Boy, but there were things that didn't get satisfied, desires left wanting. We didn't all meet on the same kind of music. When bands break up, there are all these buzz words that get tossed around to maintain a front for the audience, but in this case there literally were creative differences.
You never know who's going to be in the audience. You never know who is going to be hearing that piece for the first time, and you never know who is going to be hearing that piece for the last time.
There was a point in the '80s when I looked out at my audience and I saw people that - were I not on the stage - they'd sooner slug me as they walked by me on the sidewalk. And I realized that I was way beyond the choir.
You know...sometimes I'll be looking out at the audience and I'll be in the middle of a song, and I'll just stop dead. I'll look out at them, and think what is this... There's one thing that keeps me doing it though, I really love it, I believe in it.
People come with expectations and as a bandleader I constantly try to remind the audience to leave its expectations in the lobby.
When I look at great singers like Sinatra, Bennett and (Tom) Jones, I see great performers that can really move an audience. I really consider myself a troubadour privately and a song-plugger publicly.
I like the communication and trust that comes from a long-term relationship. When you really know people as musicians and as people, you feel you can really count on them. That frees you to take more chances and ... it takes the music to a higher level. It translates into a better product for audiences. There are two levels to these relationships. The first level is being with guys for the first few years, you're getting used to guys - he's got this to offer, he's got that to offer, I don't like this, I do like this. You both praise them and are critical as you get to know one another.
I am not doctor who and I can't turn back time. I once said the audience was all punks and little girls, now they are old punks and old little girls. I don't mind the fans being maturer, if there are younger fans that's good too.
They're very sociable occasions and there's no barriers between us and the audience. It's customary that after our performances, we go out into the foyer and spend an hour or so signing autographs for the fans and having our pictures taken with them.We strongly believe that going out front to meet the fans is just as important as playing the gigs - and we all love a good natter!
People wonder if the Pearl Jam audience will get into The Buzzcocks. Eddie Vedder is a big Buzzcocks fan. He used to come to see Buzzcocks before he was in Pearl Jam. If his fans like what he likes, I guess that they might like The Buzzcocks.
If I worried about that, I wouldn't have made a single record in my whole career. I think more and more, audiences appreciate something that is distinctive and different. Everyone always throws out this figure, 'Jazz is now down to three percent of the total record sales.' So does that mean it is not important? I think if we agree that human culture itself is important, then I think those three percent take on a greater significance.
You have a tendency to just remember the bad times and bad moments. I think that often it's the way of life. Yet the rewards we got from it were fantastic and we played a lot of shows to sellout audiences in I don't know how many cities. I just think we didn't realise how insane it was until we were actually right in the middle of it and couldn't stop. We just couldn't stop.
I don't think you ever write a song with any intention except the song's about such and such per say ... we've never written a song and thought 'oh it'd be great if in this part this happened in the audience'.
All of Europe is tremendously integrated now; perhaps from all those years of colonization. Everybody that they've colonized has come to the mainland, so you'll have a racially diverse audience as well. You'll have many Middle Easterners, Asians, Africans, from seven to ninety sitting in the audience, and the really incredible thing is that they all know the music. I don't mean they just know a song here and there. They know the music. They are a very educated audience.
You know that certain things that you use in the film are going to be shown to audiences five hundred times before they ever sit down to watch the movie. So you have to kind of modulate what can I do to give marketing enough material but that I can still withhold certain things so that it's fresh and surprising for the audience coming to see the movie.
What I can't understand why Blacks can't achieve royal status when it comes to forms that they have largely created? I mean there's a White King of Rock n' Roll, there's a White King of Jazz, how come we can never achieve titles of royalty in these fields we are supposed to prevail in? They held a so called Rock and Roll Hall of Fame the other night, where White judges credit people who resemble them with the invention of Rock and Roll. I didn't even see Blacks in the audience.
It doesn't matter if you have the greatest product in the world if no one will buy it. Have an idea of where your customers will come from and how to get to them. Partner with blogs and magazines that target that audience. If you partner with them, hopefully you won't have to spend money on advertising.
When you making a piece of comedy entertainment, the audience is a big component there. You do have to end up getting rid of things that you love, but in the interest of making a movie that's not longer than two hours, and in the interest of when every joke hopefully is good enough, then everybody looks good. You cut things that you love, but ultimately it's for the greater good of making the whole movie better.
I just respect audiences to understand that that's what goes on in movies. I just try to make movies that respect the intelligence of the audience. Respect that they understand that the narrator is always unreliable and respect that they understand that the medium can do whatever it wants.
Cuban public is special - they participate, generate a lot of energy, both in a positive and negative sense. It's always an expressive audience.
I definitely wouldn't be the performer I am today if the gay audience had not been so supportive of me as a complete unknown.
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