A Quote by Tom Green
If an audience is loud and in a party mode, that's an audience that can absorb comedy.
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We are a nation that has always gone in for the loud laugh, the wow, the yak, the belly laugh, and the dozen other labels for the roll- em-in-the-aisles gagerissimo. This is the kind of laugh that delights actors, directors, and producers, but dismays writers of comedy because it is the laugh that often dies in the lobby. The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.
If you address yourself to an audience, you accept at the outset the basic premises that unite the audience. You put on the audience, repeating cliches familiar to it. But artists don't address themselves to audiences; they create audiences. The artist talks to himself out loud. If what he has to say is significant, others hear & are affected.
Sometimes improv doesn't work on TV because the audience had heard the thing that was shouted and they're very much alive, the audience in the room - they're alive in that moment. Whereas the audience sat at home on the sofa, it feels like it's part of a party that they haven't been invited to.
Comedy can be more difficult than drama. It requires more attention to timing. In the theater, you're always dependent on the audience for the energy, but in comedy the feedback you get is more important. You can judge by the quickness and the length of the laugh just where you stand with the audience.
With a comedy, it's so important to see it with an audience and an audience who really wants to be there and is enthusiastic, otherwise it can be quite a traumatizing experience.
I found doing that kind of comedy without an audience is just... for me, it's almost impossible. You need the audience to do their half of the work.
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 did a 'Golden Girls' once, which shot in front of an audience, and that went well. I had a good time. But I need an audience, for comedy at least.
The action genre is kind of designed for a young male audience. But we found on 'The Matrix' that we hit the Valhalla of movie making, which is the four quadrant audience - the young male audience, the older male audience, the young female audience and the older female audience.
All I mean is, I'm not the kind of audience comedy directors want at a test screening because I seldom laugh, and if I do, it's not very loud. That doesn't mean I don't like the movie.
A good stand-up, you lead the audience. You don't kowtow to the audience. Sometimes the audience is wrong. I always think the audience is wrong.
I love watching audiences scream. I imagine it's the same joy that a director feels who has made a comedy when he or she is sitting at the back of a theater listening to the audience laugh. That sound of laughter is so sweet to a comedy director and that's exactly how a horror film feels when you hear the audience scream.
If the audience knows what's behind the door and the actor does not, that's comedy. If both the audience and the actor do not know, that's mystery!
Why would they have gone to the trouble to hire the best comedy writers in the business to write funny material for us to play straight, if the children in our audience were the only audience.
It is not the job of artists to give the audience what the audience want. If the audience knew what they needed, then they wouldn’t be the audience. They would be the artist. It is the job of artists to give the audience what they need
The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.
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