A Quote by Jonathan Meiburg
The thing is that honestly we haven't had an audience. And we have a chance to have an audience now. Which is great because I think we've sort of evolved as a band to the point where I think we might actually be interesting to go see.
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I don't think about the audience, I don't think about what makes them happy, because there's no way for me to know. To try to think of what makes for entertainment is a very Japanese thing. The people who think like this are old-fashioned. They think of the audience as a mass, but in fact every person in the audience is different. So entertainment for everyone doesn't exist
Cornelius Cardew very famous in Britain, because he was the darling of the avant-garde, and he played in a band called AMM, which was an improvising band in the '60s. Paul McCartney used to come watch them. Later on in life, he became disenchanted with avant-garde music, because he felt it couldn't reach the public. It didn't have a wide enough appeal. So he'd take these tunes of old English folk songs and write Stalinist lyrics over the top of them. I do think that when he changed to folk songs, he actually lost the tiny audience he already had, which is quite interesting.
Making a show is also economics. Because the irony is, or the shame of it is, you cannot create a show instantaneously. It needs to be massaged. You need to see who is relating to who. How is it working with the audience? You need to give it a chance for the audience to find it, because there are so many outlets. And the audience doesn't know where to go.
Everyone wants the same thing in this band, so we definitely respect each other. I mean, all of us have had hit songs, so it's a band full of people who really know what they're talking about, so you have to respect that even when you think something you have might be great, and they go, 'Man, it's not as great as you think it is.'
The interesting thing about improvisation is you're making something up in front of the audience. Now music helps you out a little bit because you have an instrument that'll separate you from the audience.
I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.
As much as I'd like to think and as much as people mistakenly think my audience is blue collar people in the heart of America, my audience is basically, in the States, an NPR audience. I play college towns in the summer because that's who comes to see me.
I make it a habit of never trying to judge what an audience might think, only because all points of view are too close, because we're doing it every day, I think that the actor's point of view is sometimes too close to what the material actually is.
I think you have to do the stories that interest you and hope an audience likes it, rather than doing stories that you think the audience will like, whether you like them or not. I think there has to be something that you find compelling and interesting, and then hopefully an audience will agree with you.
There's actually a disdain for the conversation about audience in the art world. Artist to artist, if you say, "What do you think about audience?" they would probably say, "I don't think about audience, I only think about my work," yet the audience is such an important part.
We are a band that stylistically crosses a lot of barriers and generational gaps. The heavier portion of the band, the modern music elements, the visual part of the band appeal to a younger audience. For an older audience, we have chops and great songs that are reminiscent of the things that were great about rock and roll when they enjoyed it. We're the kind of band that can cross those lines.
I think the biggest challenge was being aware of a certain audience that was going to see this film [lone survivor]. There's a big difference from a typical movie, journalists and critics and film goers that go see it find that, that's the general experience you have as a filmmaker. So that just kind of proves my point that there's a really different audience.
But I think whenever you're bringing in a new Doctor, you have to set it up in a really great way because it's an entry point for a whole audience. Because the audience of 'Doctor Who' is everyone from eight to 108, life is continually creating new viewers.
In comedy you feel you need to go back to the theatre every now and again, you feel you need to go back to an audience every now and again to see if you're still getting your craft right, making people laugh at the moments you think they should and that sort of thing.
For me, a great show is when there's a great rapport with the band and the audience, and we're all really into it. The first trick is to bring the audience into the band, break the ice, have a life, and be one, so you can enjoy the next hour and a half together.
I don't write with any audience in mind. I just write. I take a chance on the audience. That's what I did originally, and I think it's worked--in the sense that I find there is an audience.
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