I really enjoy the pastiche storytelling of watching separate stories slowly collide with one another. The audience gets to participate in trying to guess and decipher how one story will connect with another.
I think I have a really diverse audience. I've had people from all sorts of sexual persuasions.
You don't do pictures because the audience is ready for them. You do them because there's something gnawing at you, something inside.
There's a lot of content out there that's for an older audience but what struck me was that people who like those grittier, slightly punchier shows could still watch this but with their children as well.
On an independent film you're lucky if you get one, but ostensibly the job is the same. There's very little difference, apart from the knowledge that there's a captive audience at the end of it - which you can't always guarantee with a movie.
I think accessibility is what often denies horror its deserved attention. So it all depends on the execution and whether mainstream audiences can accept it.
Well, because we're talking here about people who've been ordered deported and the administration has done nothing about actually making sure that they go home. This is theater, I think, for two audiences - one probably for the American public to some degree, to make it seem as though the administration is taking this renewed surge of Central Americans seriously.
But the other audience, I think, is people in Central America because since last summer, they've been running ads down there - the United States government has - don't come, it's dangerous. You will be immediately deported. That's literally what it says in Spanish.
On a superhero show, you have to have people who are really human and who have the experience the audience is having.
When you start doing comedy, you think to yourself, "I want to be a headliner." And you become a headliner, and you're like, "Oh wait, this isn't what I meant. I meant I want to be a headliner that's famous enough that people come see me specifically." And that's a huge leap, because most of the time most of the audience is there to see comedy in general. They're not there to see you.
If you're doing stand-up, there is no fourth wall; you're engaging an audience.
It's always been about when I do theater, the audience is just a viewer, not taking part in what's onstage. Whereas if you're doing stand-up, it's inclusive.
I don't want to show deleted scenes. I don't like an audience looking at what the movie might have been - if it's in the movie, it's in the movie.
Some movies I make for myself. I just sort of make them for myself. I do that sometimes when the subject matter is very sensitive and very personal and I really can't imagine I'm an audience.
As a matter of fact, I constantly tell audiences all over the world that the single greatest icon of American culture from the publication of "To Kill A Mockingbird" was that novel so that if we say, what conversation can we have that would lead us on a road of tolerance, and teachers have decided that if you're going to teach values in a school in America, the answer that American teachers at all kinds of schools have come up with, just let Harper Lee teach "To Kill A Mockingbird." And then all the teacher has to do is stand back and guide the discussion.
I think you set up certain standards. I've always kind of believed in the Neil Pert way of making records where I'm trying to step it up every time I do something. You're trying to better yourself. You're also trying to make your audience or your listeners more interested. So, if you can up it, I think that's important.
It's really important to keep sponsoring young people so the audience gets used to them and starts enjoying them. They're the only way your show can keep going, otherwise it's going to burn out in one or two years. Hopefully you're creating your headliners of the future.
To be honest with you, I don't know how even to articulate it at this point, because sometimes the real difference in the seasons perhaps will come in the way the viewership responds and the audience responds. The thing about the show is - we realign a lot about it once our audience watches it. We learn things that we can't even anticipate.
I wasn't able to articulate it until after audience members gave feedback. And then, similarly, when we talked about the bromance being unique, I don't think Mark, Jay, and I really saw how special that aspect of that bromance was until our audience members sort of gave us feedback and let us know, "Hey, we've never seen a bromance like this before on television."
Now that I'm afraid was institutionalized, and the great thing about the Canadian content regulations is that it broke that open. I mean it broke it open because people were faced with no choice, but to really start listening to these records and find the ones that they could play. It didn't take long for Canadian radio to go "Wow! We're not going broke doing this, it's not killing us, the audience isn't complaining."
People listen to the beat first. So if that doesn't draw people in especially with the audience I cater to, they're definitely about that production.
Audiences are hungry for something different. With binge-watching, they're hungry for interesting content they haven't seen before, and they want to be entertained. A lot of shows are grim, murky and dark. We wanted to spin away from the obvious, the tropes, the cliches and what people are doing right now, and do something different.
I'm a big fan of not letting the audience of off the hook, as they say. I like it when things feel real, and that's oftentimes not comfortable.
Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.
I've always loved theatre because it's so immediate. The challenge of it is that, career wise, it's easier to get traction in the industry if you do film and TV because the audience is larger, and because the work can be seen for a longer period of time. I did solid work in a series of regional and Off-Broadway shows, but the work I did on TV or film will have a longer life with a larger audience (and with services like Netflix). Ultimately, there's something intimate about TV, because the storytelling and the actors come home with the viewer. It can be powerful because of that.
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