A Quote by Lucas Cruikshank
My strategy isn't just to get the biggest audience; it's to get a loyal audience.
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I have a lot of friends who were stand-ups, and they just stopped after a while, because they didn't like that battle, or they just couldn't do it. And then they would get on a sitcom and get visible and get back into it, because the audience was just way easier on them. But they lost those crucial years of learning to turn any audience into your audience.
When I write a play, my whole intent at bottom is to get the audience to be in the cast, to get that audience on stage with the actors and to get them thoroughly involved in what's going on.
The most stressful and difficult part of steering a large movie is that you are taking on the responsibility of communicating with a very wide audience. You can't ever hide behind the notion of, 'Okay, they just don't get it,' or, 'Certain people just don't get it.' You have to be mindful of the size of your audience, and you have to communicate in a way that lets them in.
As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.
When you're actually talking over someone, it's as if you're just pontificating and they're not even there. And their body language - they're trying to get away from you. And if you're pontificating at an audience, and there's a break, the non-martyrs in the audience are not going to come back. I mean, they just want to get away from you.
If I can get the audience to connect with the characters emotionally - and they love who they are, they love the larger-than-life situation that they're in, but most of all get the audience invested in the characters - then I always feel like I can sort of put them in the most outrageous circumstances, and the audience is okay to go with that.
Sometimes when I perform, and it's obvious the audience is just there to party, or if I feel a wall between me and the audience, I get existential about it.
I try to do a lot of direct contact with the audience, because the audience is part of the concert, too, as much as anyone on stage, and it's a shame not to get to meet them if you get the chance.
I'd just love to have an audience and it's the most fun in the world to get a new script every week and have the audience come in, and work with those actors.
Id just love to have an audience and its the most fun in the world to get a new script every week and have the audience come in, and work with those actors.
Being in front of the audience, letting my audience see me in person - it is real intimate, you get to make them laugh and cry, they get to feel you. And then afterward, we go out and do a meet-and-greet session with the fans. It was just a wonderful experience. I really, really enjoyed it.
Put in every joke that's not a dud and then let's just start pulling the ones that work the least. You're just constantly sifting until you're left with the biggest chunks of gold. The audience also tells you what some of those chunks are. You can have your own favorites, and then, once you screen it for an audience, the audience tells you what they're entertained by. I feel like that's a big part of it.
Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room. You've just got to be in the moment and go with it.
When you're true to yourself - not the audience that reads about me in the newspaper or sees a clip someplace, but the audience that actually comes and watches, just like Oprah - they get to know you and they sense something genuine.
I looked out into the audience, saw dozens of faces I knew well - LGBTQ folks, mostly - all avid comics readers and superhero fans and DC supporters, and it just hit me: Why was this so impossible? Why in the world can we not do a better job of representation of not just humanity, but also our own loyal audience?
In film, the camera can get an array of shots so the audience can see the emotion the character is giving off. Using close-ups on the character's face really helps get the message across. On stage, you can't do that. But the stage has that live feeling that you can't get anywhere else because the audience is right there.
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