A Quote by Dave Sim
I like the idea that my audience doesn't see what I do as controversial.
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I'm comfortable having a specific audience to write to. I like the idea that my audience doesn't see what I do as controversial.
When starting a new business, people get blinders on. They have an idea, they stick to the idea, but they don't test it or check with their potential audience to see if this is a good idea. It happens all the time. Talk to your customers, see what they like and what you can change or not change.
If you see me as a controversial artist or controversial human being, then I could be cashing in on some reality shows. I am not doing anything like that. That's not my aim.
Controversial issues are always more interesting but I don't create material about a subject I have opinion on just because it's controversial. The most fun is having a point of view that the audience is generally against and presenting an argument that challenges their thinking.
I'd be very controversial if I said why, and I don't do controversial anymore. That's too passé. So last year. Being controversial is boring now.
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.
Sometimes you'll play, like, a large venue - maybe an outdoor venue or something - where it's so big that you can see all of the disinterested people. You see the audience, but then behind the audience you see people eating ice cream, going for a walk.
My hope has always been that each record could have its own audience. Of course, it's awesome to have a cumulative audience for more than one record, but I like the idea that there could be a record that an individual might like.
Sense data are much more controversial than qualia, because they are associated with a controversial theory of perception - that one perceives the world by perceiving one's sense-data, or something like that.
It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.
Unfortunately, because the theater is always a poor relation when it comes to making the nut, it's not easy to get the audience in to see a play, unless you have a name that is recognizable, that the audience wants to see and is prepared to pay the $125 to see.
I'm always told that what I say is controversial. Why is it controversial? Because I speak from a tradition that has now fallen out of favor with the dominant media in this country. And so when I say things like marriage should be between one man and one woman, I'm called a bigot.
The Sophists had this idea: Forget this idea of what's true or not—what you want to do is rhetoric; you want to be able to persuade the audience and have the audience think you're smart and cool. And Socrates and Plato, basically their whole idea is, "Bullshit. There is such a thing as truth, and it's not all just how to say what you say so that you get a good job or get laid, or whatever it is people think they want.
I think that in the blogosphere, the idea is to have the most controversial stuff up.
As much as I'd like to think and as much as people mistakenly think my audience is blue collar people in the heart of America, my audience is basically, in the States, an NPR audience. I play college towns in the summer because that's who comes to see me.
I didn't feel like gymnastics were part of The Cars. I certainly philosophically didn't want to prod the audience to react to anything. To me, it was more like negative theater. We didn't really talk to the audience. I didn't see that being a part of this band.
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