A Quote by Dick Cavett
I don't think anyone ever gets over the surprise of how differently one audience's reaction is from another.
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The idea of surprise is part of what makes something funny, or what gets a reaction. At least when I'm an audience member, after you hear a joke so many times it's not as funny because it loses its surprise or its twist. So I think funny has to do with surprise.
If a superhero knocks over a building, and there are 5,000 people in the building that we can presume are now dead, does it matter? Because they're not people we know. But if one dog we like gets run over by a car, it's the worst thing we've ever seen. I totally understand where that visceral reaction comes from. I have that same reaction.
The task is to influence and create a reaction in the audience. In my opinion, any reaction of a human being in the audience, I think this is great. It means we touched the person's soul.
I don't think anyone ever gets over anything in life; they merely get used to it.
"I Wish It Could Be Christmas Every Day," which I actually recorded on "Quality Street" because I don't think anyone has ever covered it before. You hear it every single Christmas, and it is a great record. That's by Wizzard. It is a really great record, but I don't think anyone's ever covered it before, so I had to go it doing it differently. It's quite different from how the original goes.
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.
Every single performance of 'Fleabag,' I would learn so much from the audience reaction or how you could change it all the time, and I loved that sense that the performance is ever-growing and changing and could be affected by the audience.
I think it's keeping a surprise element, so that the audience never gets ahead of you. I like to pull the rug out from audiences, I don't like for them to think they know what's happening next.
Have you ever slept with a member of a race of another color?
Have you ever committed culpable homicide?
Have you ever bombed anything?
Have you ever murdered anyone?
Have you ever kidnapped anyone?
I really enjoy the pastiche storytelling of watching separate stories slowly collide with one another. The audience gets to participate in trying to guess and decipher how one story will connect with another.
I think it's part of the responsibility of an artist to shock, to upset, to make people think differently, and to surprise people. And that's where the good humor is, if there's a surprise and there's something unexpected. Something that's not normal, not in the realm of general living expectations.
When we think about big records, a lot of producers are thinking of how to make it as standard as possible. I think those days are gone. I think you have to surprise the audience in 2015.
Every generation has a changing of the guard in media. We do the same stuff that everybody else does, but we just do it differently. We do our content online differently. We do our magazines differently. We do our TV differently. We never had anyone tell us how to do magazines, so we just developed it in a different way.
I'm in a place where the audience doesn't have control over my love for the music. In the past I was waiting on the reaction of the fans to tell me whether or not I had a great record based on how they'd respond.
Never, ever, ever think that your life is over, but know always that each day, each hour, each moment is another beginning, another opportunity, another chance to re-create yourself anew.
Generally my typical books have lots of twists and turns a big surprise ending and then usually another surprise at the end and ideally, as in Garden of Beasts, we get to the very end and we find at the last few pages that there's yet another surprise.
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