A Quote by Jack White

Onstage, I don't feel any glory from people clapping in the audience, but when they're pushing me to do something new that feels good. — © Jack White
Onstage, I don't feel any glory from people clapping in the audience, but when they're pushing me to do something new that feels good.
I was three years old, and I walked onstage during a performance that my father was a tenor in 'The Barber of Seville.' I walked out onstage, and people started laughing and clapping, and that was it. That was all it took. Laughing and clapping, I still enjoy today.
Comedy, in my opinion, is best when it's in the gray, and you're kind of pushing people's thoughts that they sort of had but never vocalized. And I think a joke is not good if someone says something, and immediately people are clapping because they're like, 'Yes! That is how I feel as well!'
Artists are always looking for new things and fresh ground and fresh air. If it feels new to me, there's a chance it'll feel new to the audience and we'll have found something.
I gravitate towards anything that feels challenging to me, that feels like it's gonna be saying something a bit different and new to the audience, and anything that moves me. I do movies that I would want to see, so I don't necessarily gravitate towards any genre in particular. I just try and do the best work I can and also try to keep the audience guessing.
I feel like, anytime I'm onstage, I tend to feel very connected with people in the audience or with the sort of heartbeat or tempo of the audience.
I'm actually relaxed onstage. Totally relaxed. It's nice. I feel relaxed in the studio too. I know whether something feels right. If it doesn't, I know how to fix it. Everything has to be in place and if it is you feel good, you feel fulfilled.
Kids audience is a brilliant audience. If you've got an audience of adults standing up and clapping, or you've got an audience of kids standing up and clapping, I know which one I'd choose.
What I react against in other people's work, as a filmgoer, is when I see something in a movie that I feel is supposed to make me feel emotional, but I don't believe the filmmaker shares that emotion. They just think the audience will. And I think you can feel that separation. So any time I find myself writing something that I don't really respond to, but I'm telling myself, 'Oh yes, but the audience is going to like this,' then I know I'm on the wrong track and I just throw it out.
I feel most free onstage. The audience, it's an abstraction. You don't really see anyone out there, but you feel the audience inside you.
I'm constantly looking for something that will be pushing the audience to new scares in horror movies.
I feel powerful when I'm onstage talking to an audience. I like communicating; it feels like my calling in the world. Knowing what you're meant to be doing with your life is pretty bloody powerful.
Vocally, I'm definitely pushing out more. That feels good. It's very freeing. I've always been very private and consciously private. Now it's kinda like, 'Who cares.' I'm gonna be free and gonna be me. I feel good.
When Kehlani brought me out onstage, I really enjoyed that. I was just appreciative for her to think of me and bring me out woman to woman, introducing me to a whole new audience to me. It was just showing that I was appreciated for what I'm doing, that some people mess with me, and I'm all over the place.
I just kind of do my own thing, which has made me feel like a better player, a better pro because I'm in control of it. I don't have anybody who is pushing me to do something - I'm pushing myself.
In films, you are a commodity. You are a look, something that the camera really likes, something that has struck an audience in a certain way. It's not really so much about transforming yourself the way actors do onstage. I think there's a difference between the skill of acting in movies and onstage.
As long as I can make an audience feel something, I don't care whether it's a good thing or bad thing, just to feel something is important to me.
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