A Quote by Rao Ramesh
I may be a character artiste but I want the audiences to clap and whistle for me as well.
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I live in New York, so I'm used to the audiences that cheer and clap through a play. It is unusual for London audiences.
When people clap for me I say, don't clap for me, clap for what God has done.
If any of you on your journeys see her-shout to me, whistle...he sang, and it became a habit for audiences to shout and whistle in response to those lines. There was nowhere he could hide in such a song that had all of its doors and windows open, so that he could walk out of it artlessly, the antiphonal responses blending with him as if he were no longer on stage.
If you want me just whistle. You know how to whistle don't you? Just put your lips together and blow.
I play a little bit of everything. I beat on the walls. I whistle. I scream. I go outside and scream because it sounds cool when it's recorded. I play drums on a chair. I snap, clap... just anything to build the track and make it feel like I want it to.
Children are the most wonderful audiences. What's struck me most is that that they watch it so silently, until the end when they shriek and shout and clap.
I'd swear to God, if I were a piano player or an actor or something and all those dopes thought I was terrific, I'd hate it. I wouldn't even want them to clap for me. People always clap for the wrong things. If I were a piano player, I'd play it in the goddam closet.
I must say Steven Spielberg was great to me, and I loved working with him. He called me up on the phone and was like, "I want you to be in this movie - 1941. There are a couple of parts. You can take whichever one you want. One of them is a main character who is involved in everything, and there's another character who has his own storyline and goes off on his own. He's probably the funnier, more unique character." I said, "Well let me do that second one."
What's very important for me is that I want family audiences - all kinds of audiences - to watch my films, and the more people who watch the movies, the better. So I want to be part of popular cinema.
The thing we adore about these dog-whistle kerfuffles is that the people who react to the whistle always assume it's intended for somebody else. The whole point of the metaphor is that if you can hear the whistle, you're the dog.
What a character wears and how it affects their mood and their movements has always been very important to me. A character's clothes, if they're truthful, can make audiences feel something.
Benjamin Franklin went through life an altered man because he once paid too dearly for a penny whistle. My concern springs usually from a deeper source, to wit, from having bought a whistle when I did not want one.
If I have played my part well, clap your hands, and dismiss me with applause from the stage.
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.
Fans are half of an artiste... without someone to appreciate him, an artiste is nothing.
I was taught to whistle as a little girl by an undertaker. I used to sit in his workshop, watching him planing wood for the coffins, and he used to whistle all the time - and eventually I started whistling, too. I can whistle anything, particularly trumpet tunes from Classic FM.
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