A Quote by Emily Kokal
When you have an audience that embraces you that much, you really want to give them your best. It becomes a really interactive experience instead of just playing a show to random people - there's a connection.
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Genre is a really great shorthand you can have with an audience. In the same way you can use music to create a connection with an audience, it brings so much of their knowledge of what genre really is to the table. You have a shortcut to connect with them. I really like that.
The format's limitations are its strengths. We can't show you the monster, but why would we want to? Your imagination is a darker and scarier place than anything that can get generated on a computer. Asking the audience to use their imaginations makes it a much more personal and interactive experience.
I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.
I am still nervous every show. Not in the "Wow, I'm scared, I can't go on nervous," but the "I really want to do a good job and the give the audience a great show" kind of nervous. Oh, yes, the nerves are there, but I let them push me instead of holding me back.
I don't think fashion week will go back to what it used to be because people are realising that the industry is completely changing. It's not just in Bryant Park any more, people are figuring out who their audience is, where they want to show, they aren't really playing by the rules. It's not so much about these editors, these buyers.
With a feature film you're dealing with so much more money and you've got to be very aware of the fact that you're really working with an audience. You've got to have a relationship with the audience. Play with them and show them things you want them to see.
Most of the network related programming in games has to do with providing a good interactive experience when playing over the internet. This matter is very different from serving web pages. The primary concern there is to handle connection latency, latency fluctuations, packet loss and bandwidth limitations, and pretty much hide all of that from the player's experience.
People tweet me all the time and tell me how much they love it, how they can't wait for the show to come back on, that they're addicted to the show. So that's really rewarding. As an artist, we're all looking for that connection to an audience and when you find people as diehard as our fans are - it's sort of like finding the holy grail.
When I bought the [WNBA] team, I saw that no one really cared about them. Like the locker facilities that these young women have to work in-they weren't right. I want to give them the best locker room facilities and show them they're valued-because if you show them value, they're going to perform better. And this goes for all women, not just basketball players.
I got to meet a lot of cool people [on the Voice], and my favorite part about the experience was getting to sit around and do little jam sessions in the hotel. We were pretty much in lockdown at the hotel in downtown Los Angeles, and there wasn't much to do. It was interesting to be in a room with someone that was a rapper next to me, a country artist, then you have someone playing a song on the keyboard, and it was just really cool as just a random ensemble.
If you really love people, you say you really love people, really care about people, want the best for people, well, America is the best place. Instead of coming here and destroying it, why not copy it, replicate it?
Really it becomes a question of architecture. How do you move people through a space and allow them to have an experience? I, probably more than most people, suffer from museum fatigue. I always want to just stay still or sit in a chair and look at one thing, but that's not the experience of the museum.
I don't want to fool people. If I wanted to do that, I would be working with virtual reality. I want to operate on the other level, the other end of the illusion spectrum. I want to create the worst possible illusions so it doesn't really fool people, but instead give people a measure of their own belief. It makes them aware of how much they need to be fooled in order to understand the world around them.
It's very difficult for me to travel now without music just because I'm so spoiled. It's a huge luxury to go and play your music for all these people around the world and having come up to you in a special way - they really want to show your their city, or really want to show you where they are from. If you are just traveling, you don't get that same welcome.
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 think 'Lost' was really a pioneer in the use of the kind of connection between a television show and the Internet, and the Internet really gave fans an opportunity to create a community around the show. That was something that wasn't really planned; it just sort of grew up in the wake of the show.
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