A Quote by Sarah Silverman

The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience. — © Sarah Silverman
The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.
I was afraid no one would laugh, and I wanted to pretend I wasn't noticing the audience. I didn't want the audience to get the idea I was telling a joke and waiting for a laugh.
I try to make the majority of my audience laugh. That's my audience. They'll laugh at the dead terrorist.
The best way to make friends with an audience is to make them laugh. You don't get people to laugh unless they surrender - surrender their defenses, their hostilities. And once you make an audience laugh, they're with you. And they listen to you if you've got something to say. I have a theory that if you can make them laugh, they're your friends.
We are a nation that has always gone in for the loud laugh, the wow, the yak, the belly laugh, and the dozen other labels for the roll- em-in-the-aisles gagerissimo. This is the kind of laugh that delights actors, directors, and producers, but dismays writers of comedy because it is the laugh that often dies in the lobby. The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.
I realized that comedians of the day were operating on jokes and punch lines. The moment you say the punch line, the audience either laughs sincerely or they laugh automatically or they don't laugh. The thing that bothered me was that automatic laugh. I said, that's not real laughter.
A lot of people are very interested that a Korean director has made a western. But when I look at the reactions of the audience, I realise the points at which people laugh are the same for a Korean audience and an international audience.
In a live setting, the audience is trapped and can't leave. That really makes the audience be with you and laugh more because you're there.
You can't have a laugh track that sort of tells the audience when to laugh and, you know, it's difficult to find those moments.
You listen to the audience. The audience is wrong individually and always right collectively. If they don't laugh, it isn't funny. If they cough, it isn't interesting. If they walk out, you are in trouble.
My brother was a great audience, and if he liked the picture, he would laugh and laugh and laugh, and he would want to keep the picture. Making people laugh with an image I had created... what power that was!
There's a guy in the audience with a distinctive laugh. I hope that guy is miked. The only problem with having a distinctive laugh is I know exactly when that guy isn't laughing. "Oh, distinctive laugh doesn't think that joke was funny!"
Ultimately, an audience wants to laugh. That's who they like, the comedian who makes them laugh.
I know how to make an audience laugh, 'cause I grew up on Third Rock from the Sun, week after week in front of audiences, making them laugh.
You may have an older audience in front of you holding the Bible and a younger audience holding an iPhone. You don't want to lose either audience.
I have been so busy making people laugh with my acting, so I thought why not direct something and make my audience laugh more.
In our show we know, if we're not getting a response, you see it in our face... we either do something to get a laugh, or the audience is in on it with us.
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