A Quote by Julie Andrews
I don't think today's younger audience... would even know what 1920s musicals were like.
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I'd say we do reach somewhat of a younger audience, but I think for the most part that younger audience is picking our music up from a brother or sister or even parent, who is turning them onto the band.
I think every theater in America wants a younger audience... and you can't just hope to have a younger audience, you have to program things that audience is going to connect with.
Basically, I realized I was living in that awful stage of life between twenty-six to and thirty-seven known as stupidity. It's when you don't know anything, not even as much as you did when you were younger, and you don't even have a philosophy about all the things you don't know, the way you did when you were twenty or would again when you were thirty-eight.
I just want to do musicals. it's hard enough just to do musicals. No matter how hard I try, I think it's only getting harder. Even If I try harder, there are problems that I just can't deal with. I don't know why it's become like this.
The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say 'sophisticated.'
The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say sophisticated.
The only stuff I don't like are Broadway musicals. I hate them. I don't even like to talk about it. I can't bear musicals.
I was fortunate enough to work at the peak of the great golden age of musicals. And then for awhile, I think they were being advanced in different ways. Andrew Lloyd-Webber brought the rock beat to musicals; people tried different things. The joy of musicals is that there is no perfect recipe; it is what you throw into it.
When I was growing up, there were so many musicals you could watch. I like the fantasy of musicals and I love music.
When I grew up in the '60s, we were actually dominated by this, you know, sort of conforming '50s culture, even though we were like trying to express our own culture, like, the dominant culture was the thing that was forming us. And I think that that's true today.
I was also a fan of the first one Saw movie. I knew there was a danger in doing the sequel, especially like this. They have such a core audience for the Saw movies. The fans of the movie actually demanded a sequel. They were on the internet going crazy. I don't even go on the internet. I don't even know how all this stuff happens. But they wanted it and one the one hand that's good, because you know there's an audience.
When I first started playing, I definitely had a younger scum-punk crowd, but as my music developed more and after I started playing electric guitar - you'd think it would be opposite - but a lot of people were like, "You've changed." And I have more of an older audience now.
Musicals are — particularly musicals — plays also, but musicals particularly are… the last collaborator is your audience, and so you’ve got to wait ’til the last collaborator comes in before you can complete the collaboration.
I've auditioned for musicals a lot, but I think my voice didn't really match what they were looking for. I went to school for musical theater for a year and dropped out. Legit musicals are not quite my forte.
Audience today like an honest approach to cinema; if you try to please the audience they come to know.
My original perception of wrestling was not a very positive one. I didn't understand it at all, and I thought it was kind of silly and ridiculous. But as I got to know it, it was sort of like how people used to talk about musicals, to me, when I was younger.
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