A Quote by Carroll O'Connor
We don't really need reviewers, just first-night reporters who will tell us faithfully whether or not the audience liked the show.
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Vegas needs a really funny, dirty, late-night show, and I'll tell it like it is, I promise you that. And you gotta love the audience I bring in.
If you're working with a band and you really want to work them into the episode, you've got to say to them, "Look, we need you around every day and on Tuesday night all night because we need you to do voices as we're changing stuff." We do the show so quickly, and you just can't get bands to do that. It's not really fair.
I enjoyed living in New York City, I liked the premise of the show [Saturday Night Live], I liked working with a different host every week and different musicians. I always thought, "This is great. I never expected to get this in the first place, so I'm just happy being here."
The thing we call critics are not really reviewers, they are not really critics. They don't have the discipline to write what we would term as critique - it's really just reviewers. They have a common man kind of taste. If you watch them overall, they are not different from the box-office. That's my view.
In theatre, previews are the first draft of a show. I strongly believe that. The only way we can truly tell whether that draft works is by having an audience present.
I've always been switching around the show to accommodate the audience, and you know it really makes it a lot more fun for me and keeps it fresh so that I'm not complacent with the same show every night and with every audience.
Any actress will tell you, when you've been given a starring role in the initial run of a show, you want to be getting the standing ovations every night, not just on review night.
I watched 'It Happened One Night' and looked at online pictures and really liked Clark Gable's mustache and hair and the tuxedo. I just really liked that look.
I knew the big following 'Stranger Things' had, and I really liked the show, but even if I hadn't known what the show was, I still really related to the character, and I really liked the material.
I've told Michael Jackson jokes. If you got really technical, you could say those are jokes about child molestation. You could, if you got technical. A lot of this is just selective outrage because honestly, the audience are the ones that tell us that something shouldn't be spoken. The audience lets us know. And I've never, in my almost 30 years of being a comedian, seen a comedian continue to tell a joke that the audience doesn't respond to. I've never seen it.
Making a show is also economics. Because the irony is, or the shame of it is, you cannot create a show instantaneously. It needs to be massaged. You need to see who is relating to who. How is it working with the audience? You need to give it a chance for the audience to find it, because there are so many outlets. And the audience doesn't know where to go.
We're a lukewarm people for all our feast days and hard work. Not much touches us, but we long to be touched. We lie awake at night willing the darkness to part and show us a vision. Our children frighten us in their intimacy, but we make sure they grow up like us. Lukewarm like us. On a night like this, hands and faces hot, we can believe that tomorrow will show us angels in jars and that the well-known woods will suddenly reveal another path.
Wearable technology will tell us how well we are sleeping and whether we need to exercise. Sensors in the street will help us avoid traffic jams and find parking. Telemedicine applications will allow physicians to treat patients who are hundreds of miles away.
when you want something so desperately, you shake with the need for it. you tell yourself that you don't need more than one sip, because it's just the taste you crave, and once it's on your tongue you will be able to make it last alifetime. you dream of it at night. you see a thousand mile-high obstacles between where you stand and what you want, and you convince yourself you have the power to hurdle them. you tell yourself this even when, leaping the first block, you wind up bruised and bloodied and flattened.
I believe that DVD is that which gives some hope to retaining some content in movies that will appeal to an older audience or the more sophisticated audience or the audience that doesn't need or desire to see a movie on a Friday night.
I'm very conscious of what I consider to be the first audience of any movie that I make. It's those people whose reactions I'm most attentive to. They're the ones who will tell me whether I've done my job or not.
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