A Quote by Pankaj Mishra
The internet has created a transnational audience. If you publish something in the New York Times, it's read all over the world. Who knows how big this audience is or how long it will last.
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I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.
Well, I believe you created those experiences over and over because they mirrored something you believed about yourself. It doesn't really matter how long we have had a problem, or how big it is, or how life-threatening it is. The Point of Power Is Always in the Present Moment.
You have to think about storytelling over the long haul: what is going to engage an audience for, potentially, years and how characters can become deeply involving for an audience.
The audience will teach you how to act and the audience will teach you how to write and to direct. The classroom will teach you how to obey, and obedience in the theatre will get you nowhere. It’s a soothing falsity.
I wanted to make a film as an artist, and it's going to have to find an audience, you know. I don't know how big the audience will be.
You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.
It's weird how the Internet changes everything. The kind of narrow casting... instead of reaching for a broad audience, you are reaching for a more targeted audience.
I don't have an audience in mind when I write. I'm writing mainly for myself. After a long devotion to playwriting I have a good inner ear. I know pretty well how a thing is going to sound on the stage, and how it will play. I write to satisfy this inner ear and its perceptions. That's the audience I write for.
The Internet is an audience of one, a million times over.
There was a period when the utopian scenario was almost true - when we felt that you could do almost anything in a club, as long as it was any good. There was no rigid expectation from the audience as to how it had to be delivered. But this didn't last very long. It was almost palpable, the decline of this in the new millennium.
I like to service the full audience of America, so I try to do things that are just real artistic, like when they don't have the most money, but it's a great piece of work. Then, there are big, fun comedies and big animated movies for kids. I want to do things for my nieces and nephews. Ultimately, we're trying to deliver something entertaining to an audience. As long as it can entertain the audience, and it makes me or my niece and nephew laugh or cry, then I think it's good.
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.
The sea change that has come is the information age. We don't have to just read The New York Times anymore. We can pull up something on the Internet and get any news that we like.
Employing a low-key, Midwestern charisma, Mike Pence proved he knows how to win over an audience.
The form came out of the function because it is for the audience that already knows the show, while hoping to get a new audience, too.
I definitely had to do some soul searching, and there would be a lot of times where I would sit back and look at the Internet and say to myself, 'This is a way of being able to communicate with all my fans all over the world, other than just being in New York and only hearing the New York side of things.'
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