A Quote by Joel Grey
My dad was a really funny, really talented guy who had a great success in a limited audience. But from him, I learned that he always felt the audience was entitled to 150 per cent. If he was performing at an event, he'd keep playing until the last person had finished dancing.
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When I started off in journalism, you knew there was an audience out there and that you wanted people to read what you produced. But it also felt like you had a limited ability to shape the audience, or to acquire an audience, for what you were doing. So you didn't really think too much about that.
Our royalty statement has been minimal and menial. Really. We don't collect more than a per cent of a per cent of a per cent of a per cent of a per cent of a per cent of a per cent. We get maybe the seventh of 1 percent.
I had a really great performance with Steven Tyler in the movie 'Be Cool.' I performed 'Cryin',' so we recorded the song beforehand. But I didn't get to meet him until I hit the stage with him, and we had a live performance with 30,000 people in the audience, and that was for the movie.
I wanted to make a film that wasn't just a biography. When you watched it, you actually felt that you watched a movie, that you had an emotional reaction. In order to do that, I felt that I had to really keep myself emotionally raw while working on the film. I had to feel myself crying, so the audience could be moved, too.
I learned a great lesson early on, even before I was really an actor, from that movie 'Planes, Trains & Automobiles' that John Hughes made: that you could make a movie that's really, really, really, really funny, and sometimes you can still achieve... making the audience feel very deep emotions as well.
Every time I sprinted 100 per cent, my hamstring broke. But I knew if I didn't sprint 100 per cent, I could keep on playing, so that's what you do. I was just lucky it was discovered in America and I haven't had one problem since. I feel I can run past people again and that feels nice.
Performing in front of an audience gives you an extra ten per cent energy and the chance to react to the instant feedback.
No, but ..." But I had felt something from another person. Someone who spent time with Alec. The last card in my head flipped over. "I know who it is. It's him. That guy." "Of course," said Carter dryly. "I knew it was that guy. It's always that guy.
We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.
I moved to New York and went to a performing arts college, but it wasn't until UCB that I started performing on the regular, figuring out how I'm funny, why I'm funny, and how to play with an audience.
Seven out of my nine films were hits. 80 per cent of the audience loves my films; the remaining 20 per may be right in their opinion, but that doesn't make me wrong. If I try too hard to woo them, I'd be cheating my core audience.
In 1860, sixty-three per cent of the couples married in Great Britain had families of four or more children; in 1925 only twenty per cent had more than four.
A big part of becoming a funny person was a major defense mechanism. Onstage, especially as a woman, I've had to be really tough. The second you show a crack, the audience can literally leave.
Playing live is much more natural for me. The instant reaction and the feedback from the audience is great for me. I really relish it. And if you play blues-based music, it's not really academic music or recital music. It really needs a bit of atmosphere and a bit of interplay and a bit of roughness, and you really get that with an audience.
Usually, I don't feel comfortable with a character until I've played him before an audience for several performances. It is not until after three months of performing that I learn to discover what I call 'all the nooks and crannies' of the person.
I was lucky. I always had really great friends in my personal life, people always just knew who I was. It wasn't until I was in show business where that sort of changed or shifted at first. I have always had a great support network. I have had a lot of really wonderful, close friends.
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