A Quote by Peter Maxwell Davies
But you can't really know your audiences so well.
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Well, the coffeehouse audiences never know what they're going to get, and all the comics are different, as opposed to when you go to a club, and they're pretty much all telling jokes with set-ups and punchlines. Coffeehouse audiences are the most forgiving: They really listen, which is the best part.
Phish and Dave Matthews really know their audiences and really treat them well.
If it's too much for people, if audiences don't accept it, well I guess that's just the way it is. I'm not being cavalier when it comes to my financial partners, but I think I've earned the right to do my thing my way. While I really want it to do well and it would be lovely if it's popular, movies are for a long time. I'm really proud of the piece. If it ends up not connecting with audiences, I won't be heartbroken. I'll be a little disappointed, but I won't be heartbroken.
In general, I think audiences are a lot smarter than people think. So, it's not "know your audience", it's "respect your audience, and really know your content".
If you're in a successful play and the play is working well - I mean successful because the audiences like it, the audiences respond well - it's a pleasure.
I really believe at the end of the day, regardless of how noble you are or how patriotic the film might be, it has to serve as entertainment in order for your audiences to come into the theatre and watch it. Otherwise, audiences will wait and see it a few months later when it is premiered on television.
I do feel bad when my films don't do well, but I respect audiences' verdict because they know well which films to support. If they don't like a film, we should accept it.
I don't have the ability to find a middle ground with my audiences, and I know this too well.
Also, worldbuilding touches all aspects of your story. It touches plot and character as well. If you don't know the culture your character comes from, how can you know what he's really like? You must know your characters on a much deeper level than you would if you just shrugged your way into a cookie cutter fantasy world.
As an actor, you know when you've got great material in front of you. When you're working, you think, 'Is this the one? The one that everyone will respond to and be moved by?' You pray that you have told the story well... that your peers will see it and audiences will love it.
To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.
In the '50s, audiences accepted a level of artifice that the audiences in 1966 would chuckle at. And the audiences of 1978 would chuckle at what the audience of 1966 said was okay, too. The trick is to try to be way ahead of that curve, so they're not chuckling at your movies 20 years down the line.
I don’t suppose I really know you very well - but I know you smell like the delicious damp grass that grows near old walls and that your hands are beautiful opening out of your sleeves and that the back of your head is a mossy sheltered cave when there is trouble in the wind and that my cheek just fits the depression in your shoulder.
You work hard and you pray, and you do something where you know the energy around the project is right, but you never really know if it's going to hit and resonate with audiences.
You know that something is really well written when you have to think so little about the words that are coming out of your mouth and you're able to dwell in your own headspace to get there. It's very easy to recall and remember because it's written so well.
You really can't be a good artist if you can't say what you really feel. And people may be offended, but, you know, that's how you feel, and that is your right, and that is your gift as well.
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