A Quote by Dick Van Dyke

I found doing that kind of comedy without an audience is just... for me, it's almost impossible. You need the audience to do their half of the work. — © Dick Van Dyke
I found doing that kind of comedy without an audience is just... for me, it's almost impossible. You need the audience to do their half of the work.
The action genre is kind of designed for a young male audience. But we found on 'The Matrix' that we hit the Valhalla of movie making, which is the four quadrant audience - the young male audience, the older male audience, the young female audience and the older female audience.
Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.
When I first started doing my comedy act, I just desperately needed material. So I took literally everything I knew how to do on stage with me, which was juggling, magic and banjo and my little comedy routines. I always felt the audience sorta tolerated the serious musical parts while I was doing my comedy.
I feel like L.A. is more of a showcase, and Chicago is a pure comedy scene where you're doing comedy for comedy. You're doing comedy actually for the audience that's there.
The secret is to let the audience feel through the actress, rather than having the actress feel for the audience. When you can do that, you involved the audience almost without their knowledge or awareness.
Even if I'm doing a show and there's five people in the audience and the sound system is terrible - I mean, it's been a while but I've certainly done those kind of shows where it's just every conceivable thing is against you - you still have music. It's still something that's real whether there's five people in the audience or a hundred thousand people in the audience. And that's always been there for me.
I did a 'Golden Girls' once, which shot in front of an audience, and that went well. I had a good time. But I need an audience, for comedy at least.
[on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977)] We were really worried about changing over from a three-camera, half-hour comedy to a one-camera, full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.
There's a very interesting article or symposium to be written on just the real difference between comedy filmmaking and non-comedy. Because, you know, when you work in comedy, you depend on audience screenings to tell you about your movie.
Comedy can be more difficult than drama. It requires more attention to timing. In the theater, you're always dependent on the audience for the energy, but in comedy the feedback you get is more important. You can judge by the quickness and the length of the laugh just where you stand with the audience.
The audience is an absolutely critical part of 'Question Time' and selecting that audience is a big and very important job every week. What we need to do every week without fail is make the audience politically representative of the picture across the nation.
Half the audience gets where I'm coming from and half the audience is like, "Wait a minute. What does that mean?"
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.
As an actor, you should always keep your trump card hidden from your audience. I want the audience to keep expecting more and more from me. I want to do 'different' work - good and memorable roles - so that audience appreciate me more. That's why I love to surprise my audience with something they never expect me to do.
Without an audience, all your dreams will not come true at all, because you need an audience to write new songs and continue to do music.
Do you need an audience to create work, or does not having an audience liberate you and make you a truer artist?
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