A Quote by Bruce Springsteen
I played in front of every conceivable audience you could face: an all-black audience, all-white, firemen's fairs, policemen's balls, in front of supermarkets, bar mitzvahs, weddings, drive-in theaters. I'd seen it all before I ever walked into a recording studio.
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You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.
All of the material for 'The Fine Line' was created via improvisation with my partner, but not in front of an audience. We'd continue to refine it in front of an audience based on their responses until it was set and scripted.
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.
I would see musicians performing at weddings and bar mitzvahs, and I knew that at the very worst I could do that.
Patrick thought we should try to put an audience in front of one of the workshops, basically in front of the class and see how the performers rose to having an audience there, because he said, "You know, it's a really interesting test, because sometimes it gets even funnier."
I can go in front of an orchestra. I can go in front of an audience. But if you see me walking through an audience in the reception or through a lot of people, I'm still shy.
'Full House' was the first time I had ever been in front of a live audience. I said a line I had rehearsed with my mom, and they laughed. It was wild. To have that energy of the live audience was like, Whaaat? Feeding off that live audience was, to a 4 or 5 year old, a high.
I was so afraid to even read a paper in front of my classmates. It is very funny because at that point my teachers would never have believed that I could speak in front of an audience of over 2,000 people.
I always knew that if I was ever going to perform something that I wrote in front of an audience, I was going to do the thing I most like to experience as an audience member, which is to be tricked.
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.
We have been playing to a 70-30 black to white audience. And we are just doing what should come next, trying to attract a larger house, trying to reach an audience that's half black and white.
I am terminally sentimental about graduations. They are more individual than weddings, more conscious than christenings, or bar mitzvahs or bat mitzvahs. They are almost as much a step into the unknown as funerals-though I assure you, there is life after graduation.
I always tell that to young people - go to college, do theater, work with an audience. Don't try to learn how to act in front of millions and millions of people. Don't make that your first ambition, to be on a sitcom or get into the movies. Learn who you are as an actor, and the best way to do that is to do it in front of an audience.
I do think - I always tell that to young people - go to college, do theater, work with an audience. Don't try to learn how to act in front of millions and millions of people. Don't make that your first ambition, to be on a sitcom or get into the movies. Learn who you are as an actor, and the best way to do that is to do it in front of an audience.
Much of my music is inspired by what I heard at picnics and weddings and bar mitzvahs.
As the years went on, the audience has become very jaded. They've heard every joke, they've seen every story line, they know where you're going before you even start to get there. And that's a hard audience to keep interested.
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