A Quote by Maxwell Caulfield
You can work and scratch out a living in the theatre, but, if you want to make money, you've got to hit the road. You've got to play big houses of 2, 3 thousand seaters with your name above the bill, do popular fare and reach out to the audience such as it is.
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I personally enjoy theatre, but preferably I do films so that I can reach up to maximum audience. If you want to give a serious message, it will reach out to maximum people through films. But through theatre, you can hardly reach out to about 3,000 audience at a time.
In my world, the first thing I reach for is the sound. Technique is Ok, but if you got the technique and I got a good sound, I'll beat you every time. You can play a thousand notes and I can play one note and wipe you out. What I reach for is ... a sound.
?s long as I've got an audience out there to play for, I'm going to continue to play. I have at least enough people that I can go out on the road for 10, 11 weeks at a time.
Big shout out to Nas: if you want to scream my name out again and put my name in your rhyme, I think it's funny. Let's make some money from it. Just don't take it so serious, man.
You've got a song you're singing from your gut, you want that audience to feel it in their gut. And you've got to make them think that you're one of them sitting out there with them too. They've got to be able to relate to what you're doing.
You want to win races? You've got to get out there, and you've got to be vocal, and you've got to work. When you win, you've got to actually represent. You've got to be willing to fight your party.
What team's supposed to win - that doesn't mean anything. You've still got to go out and play. You've still got to go out and hit the shots and make the putts.
I love the music, but being on the road ain't a piece of cake, but it is real rewarding. You've got to - all those people can't come to my house, so I've got to go out on the road and play for them.
I had no clue about taxes at all. I didn't know they hit your paycheck. There's something that you've always got to put money away for. I didn't know you've got to put money away for it, even though it's coming out your own money. It's like, 'What the heck?'
If you want to play the game and win, you've got to play 'full out.' You've got to be willing to feel stupid, and you've got to be willing to try things that might not work - and if they don't work, be willing to change your approach. Otherwise, how could you innovate, how could you grow, how could you discovery who you really are?
I've had a lot of friends in the business that got out earlier than normal. They tell me they got out too early and that I should make sure I've got all I want before I step aside. When I do get out, there are other things that I want to do with my life.
The audience got jaded, they want a hit, they want a big success, and so you don't want to experiment because you say, well, I'll disappoint the audience, they may not like it, I better do something that I think is more commercial.
I was stealing all the bases, and when you had to go to arbitration they said, 'You know, only the big boys make the money.' So I got to try and figure out how to hit a home run, too.
I came in on the decline. Phil Elliot was in first, he got his book out, he sold thirteen thousand, I think he got two issues out before I got mine in, this was March '87. He was out in December '86.
With a feature film you're dealing with so much more money and you've got to be very aware of the fact that you're really working with an audience. You've got to have a relationship with the audience. Play with them and show them things you want them to see.
I'm working for myself; what else have I got to work for? How can you work for an audience? What do you imagine an audience would want? I have got nobody to excite except myself, so I am always surprised if anyone likes my work sometimes. I suppose I'm very lucky, of course, to be able to earn my living by something that really absorbs me to try to do, if that is what you call luck.
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