A Quote by Alexis Taylor
When you're making the record, you're not thinking about an audience, but you still need them and you want them.
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The only way to resonate at a level that persuades is to know who you are addressing. If it's true that the Audience is the hero, you need to spend time thinking about them. Really getting to know them to the point it feels like they are a friend. May times we picture our audience as a large clump of strangers. Instead, you need to picture them as individuals standing in line to have a personal conversation with you. It's easy to persuade a friend, you need to think about your audience until you know them as a friend.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.
When someone says "that resonates with me" what they are saying is "I agree with you" or "I align with you." Once your ideas resonate with an audience, they will change. But, the only way to have true resonance is to understand the ones with whom you are trying to resonate. You need to spend time thinking about your audience. What unites them, what incites them? Think about your audience and what's on their mind before you begin building your presentation. It will help you identify beliefs and behavior in your audience that you can connect with. Resonate with.
It was important to me to be cool as a comedian. I didn't want to be a crowd-pleaser who sent out the vibe of, "I need you guys." I wanted to be so cool that the audience could leave and I would still be killing, that I didn't want to have to rely on them or need them. That really appealed to me.
With all the negativity going on in the world right now, people need an escape. When you give them a hit record or a great record, it allows them to escape for at least three to four minutes. They're not thinking bills or economy or immigration or war when you create that kind of ambiance.
I love the theater as much as music, and the whole idea of getting across to an audience and making them laugh, making them cry - just making them feel - is paramount to me.
I just really care about what people see. I want them to know that I'm working hard for this. The artists that I look up to like, you know, Michael, Prince, James Brown. You watch them and you understand that they're paying attention to the details of their art. And they care so much about what they're wearing, about how they're moving, about how they're making the audience feel. They're not phoning it in. They're going up there to murder anybody that performs after them or performs before them. That's what I've watched my whole life and admired.
But the general audience, if you want to grow your audience you need to tell stories, you need to have characters, and that's how you bring them in. That's my favorite part of the business.
. . . I felt that making her one-dimensional would be an insult to the audience, and also not as interesting. All destructive people have an inner side to them, and the more three-dimentional your characters are on screen the more compassion you can open up in an audience . . .. To me, that involves the audience more, it stimulates them and asks more of them.
I never look at twists as a way to trick the audience. Obviously, I think a good story has surprises and unexpected turns, and you always want to do that with an audience. But it has nothing to do with conning them or making them believe so strongly in one thing and then kind of going the other way.
I want to get out of the way of the actors. I want to get out of their eye lines. I want to them to stop thinking they're making a movie. I want them to just go and live. It's like you take these great actors and put them in an aquarium of life, and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.
I get an opportunity to communicate with the audience about the movie that I've made. I get the chance to bring attention to the film that I've made. I care a lot about the movies that I make. I want them to reach an audience, and I want them to be successful. I promote nearly everything that I do, unless I've got some bad taste in my mouth.
Happiness is baking cookies. Happiness is giving them away. And serving them, and eating them, talking about them, reading and writing about them, thinking about them, and sharing them with you.
At least I want to be making films that are somehow born out of me that are stories I want to tell. The challenge is figuring out how to do it where you can make them personal, yet still deliver to an audience a film experience that is satisfying and emotional, and that's what I'm trying to do.
No matter what as an artist that's always what you want to do, you want to connect to the audience, you want to be able to send whatever message it is that you're singing about, you want to be able to convey that - and not make them feel - you want them to feel it, you want them to feel what you feel.
Making fiction for children, making books for children, isn't something you do for money. It's something you do because what children read and learn and see and take in changes them and forms them, and they make the future. They make the world we're going to wind up in, the world that will be here when we're gone. Which sounds preachy (and is more than you need for a quotebyte) but it's true. I want to tell kids important things, and I want them to love stories and love reading and love finding things out. I want them to be brave and wise. So I write for them.
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