A Quote by Baron Vaughn
Every laugh is not equal. They come from different places. That's sort of the challenge I go towards, making sure the laughs are for the reasons I want. It becomes a back and forth dance with the audience.
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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.
When you do comedy, the audience is not your boss. They are your collaborators and when you collaborate with someone you don't have to listen to everything they think or say. Sometimes you're not getting the laughs you want or at the place you want but that doesn't mean it's not funny. It means you haven't explored it enough. I'll get laughs in the places I don't want them and that makes me realize the direction I want to go in.
What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience. And since the audience is different every night, the music being played will differ too. Every space I performed in has its own magic and spirit.
When the animal becomes human, the effect is pleasingly benign and we laugh outloud, "Okay come clean now. This isn't really about hunting, is it?" But when the human becomes animal, the effect is disgusting, and if we laugh at all, then it is what Beckett calls the "mirthless laugh", which laughs at that which is unhappy.
When you watch an audience watching my movies, you realize that nobody laughs at the same time. Some people enjoy a beat, and then another group of people are laughing at a sight gag, and then someone laughs where nobody laughs before. They're not timed like a comedy. You're not supposed to laugh at every joke. You decide.
The one thing that I love about the live audience is the energy level. Like, from the minute of cast introductions, it's just constant energy being traded back and forth. When you do something funny, the audience laughs; when you're being serious, you can, like, feel the tension going through the audience.
You feel the communion of the collective consciousness in that moment when you're on stage doing something and the audience is absolutely with you. And the audience becomes a collective entity as well. They come in from separate places and socio-economic backgrounds, and places across the world and days that they've had, and then they come together and they become one collective thing, and experience something in a collective way.
When I look back at the record and listen to it, I can sort of see where I was at when I was making it - these brief little moments, different places I was at emotionally.
Even I like to go to certain restaurants and places where you have to wear a jacket, a suit and a tie, and I like that sort of old world style. I am sure it will come back in many ways, if it hasn't already. It's kind of nice and it breaks it up.
The passage of time has not altered the capacity of the Redeemer to change men’s lives. As he said to the dead Lazarus, so he says to you and me: “come forth.” Come forth from the despair of doubt. Come forth from the sorrow of sin. Come forth from the death of disbelief. Come forth to a newness of life. Come forth.
Emily [Blunt] is such a giggler, she has such a positive life force about her and she's so giggly in a naughty sort of schoolgirl way that it kind of brings out the worst in you, you just love making her laugh. And also Nick Stoller has one of the best laughs. It's so infectious and whenever he laughs at something you do, it's like giving us a reward.
We want to have a system where people can come here and work - go back and forth if they want to... so that we have an open door to the people who want to come and contribute to our country, who want to come and make a difference in their families' lives and our economy.
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!
Every city is different for playing, actually. That's one of the hardest things: to play abroad. Because sometimes you know your city and your audience and you know what to play and what people will dance to. And later, you go to a place and you think this thing will work and you start playing and it doesn't work, and you have to be able to go to another side just to try to find what people like or whatever, or, like, try to make people dance as they are more used to. I don't know, it's quite strange - people dance in different parts of Europe in a different way.
I want to keep working, I want to keep doing my humanitarian stuff around the world, shining light on different places that have problems. Keep making movies, make people laugh.
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.
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