A Quote by Baron Vaughn

The audience is your first collaborator with the material. If that makes sense. — © Baron Vaughn
The audience is your first collaborator with the material. If that makes sense.
Musicals are plays, but the last collaborator is your audience, so you've got to wait 'til the last collaborator comes in before you can complete the collaboration.
The last collaborator is your audience ... when the audience comes in, it changes the temperature of what you've written. Things that seem to work well -- work in a sense of carry the story forward and be integral to the piece -- suddenly become a little less relevant or a little less functional or a little overlong or a little overweight or a little whatever. And so you start reshaping from an audience.
Musicals are — particularly musicals — plays also, but musicals particularly are… the last collaborator is your audience, and so you’ve got to wait ’til the last collaborator comes in before you can complete the collaboration.
Having a live audience makes a world of difference to the acting. It keeps your timing sharp. When something doesn't work, the actor can sense the reaction from the audience and quickly move on.
Treating your audience like thieves is absurd. Anyone who chooses to listen to our music becomes a collaborator.
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.
I think the whole thing is: If it makes sense in your head, the audience will go along with it.
When I look back at my paintings, they don't give me a sense of where I was when I first met that guy. They don't give me a sense of what I felt like when I first saw that original source material. They give me a sense of the world that I'm trying to create. And we all just have to deal with that.
You can work on a movie for years, and you won't know until you show it to an audience for the first time if it makes any sense to them at all, if they're touched, if they find it funny, so it's endlessly exciting, because failure is just right there all the time, and your chances of success don't rise that much based on the fact that you succeeded last time.
For comics, Edinburgh makes no financial or medical sense. Get an audience; that's the first task. Once the punters are in, simply make them laugh for an hour, and then sweat on the critics.
When you educate a girl, you kick-start a cycle of success. It makes economic sense. It makes social sense. It makes moral sense. But, it seems, it's not common sense yet.
I remember reading in a comedy book very long ago when I first started, a person said there's a difference between a sense of humor and a sense of funny. A sense of humor is knowing what makes you laugh and a sense of funny is knowing what makes other people laugh. The journey of comedy, in a sense, is negotiating those two worlds.
Sometimes it takes a while to find that perfect balance between knowing who you are, what your sound is, and building the right team to make that happen. Once it all really comes together and it makes sense, both for the audience and your fans, there's no stopping you.
Composing easy? I find it easy if - big if - the idea is right, if I have the right collaborator, and if my collaborator is in the room. I like my collaborator to be in the room.
Don't make your audience play Jeopardy. Giving your answer before asking the question puts your audience at a disadvantage. It will also reveal your biases. Make it clear what question you are trying to answer first. Then allow your audience to engage in answering the question too.
Understand--it ALWAYS makes sense. Sense can't be avoided. If it first seems to be non-sense, wait: roots will reveal themselves.
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