A Quote by Kenny Hickey

I look at is as one single entity. I dehumanize the audience. This way, I don't get nervous, you know? — © Kenny Hickey
I look at is as one single entity. I dehumanize the audience. This way, I don't get nervous, you know?
Every night I try to look at the audience and treat every audience differently. It's almost like it's a single entity or a person. I always try to treat it like a conversation and allow it to happen naturally in the same way that you would engage in conversation.
Every single night I'm nervous. You never know how the audience is going to react.
We're so willing to dehumanize entire populations in order for us to conveniently go along with our lives. We know exactly one North Korean, for example. The rest of them, we don't know - but it makes it very easy to bomb North Korea if we pretend they're all one person. Literature makes it harder to dehumanize people in this way.
I don't look at people's expressions, because I still get nervous when I play, especially when I first put the harp up there. I just try to tune - it takes me a half-hour to tune, and I get nervous if I look at anybody when I do it.
I get nervous every single time. It doesn't matter if there're five people or five thousand. What I have noticed is that the more people there are, the less nervous I am. It's way harder to impress five people.
I get nervous when I don't get nervous. If I'm nervous I know I'm going to have a good show.
What social media has done - Facebook, Twitter - is show the audience. I don't have an audience. When I make my work, it just goes out into the ether. I have a thick skin and it just brings me down to earth, you know, to realize how out-there and far away and paltry the audience is that gets what I'm saying. It's depressing if I let it get to me. And it's the same with hanging a show, the way it's put up, like, three stories high and you can't read a single word.
When I get nervous, I go to the library and hang around. The libraries are filled with people who are nervous. You can blend in with them there. You're bound to see someone more nervous than you are in a library. Sometimes the librarians themselves are more nervous than you are. I'll probably be a librarian for that reason. Then if I'm nervous on the job, it won't show. I'll just stamp books and look things up for people and run back and forth to the staff room sneaking smokes until I get hold of myself. A library is a great place to hid.
When you're in front of an audience, you know if it didn't work. I get very nervous and have a fear of failure that is much more profound than in the podcast world.
There's no audience to wonderfully get in your way when you're doing a single-camera anything, whether it's a sitcom or drama or film. And I do mean that in the best way.
My audience expects cold, hard truth. They don't expect me to dance around it. They expect me to say it the way they think it. That's part of my brand. If I don't do that, then my audience goes, 'What's up? Is he sick or something? What's wrong with him?' The entity has a brand.
Sometimes you can do certain things on stage, or even in a TV series, and people see the look on your face and they know what you mean, so you can get away with certain things. But if you can't create that look on an animated character, which is essentially a puppet, the line will hit the audience in a very bad way.
I'm not big with an audience; I get very nervous.
I never stop getting nervous. I'm nervous before every single show.
Seeing Pax get extra-nervous about which shirt he is going to wear when he meets Aung San Suu Kyi, I get very moved. He rightfully doesn't get nervous going to a movie premiere; he gets nervous going to meet her.
We do not know where to look, or what to look for, when something is memorized. We do not know what it means, or what change there is in the nervous system, when a fact is learned. This is a very important problem which has not been solved at all.
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