Top 1200 Live Audience Quotes & Sayings - Page 18

We never heard of tape. Everything was live, live, live.

The live audience is a blind date. The camera is a hungry lover. One wants to be wined and dined and seduced and then decide where the evening will go. The other knows how it wants to be touched, wants it now and can damn well tell if you are lying about it. Both are fickle. Both feel good. Depends on your mood.

There's just something about getting up, putting it out there, and getting this exchange of energy. Whether your audience is a camera lens, or live theater, or whatever it is, just putting that out there and getting it back is just an honor.

It's no wonder we don't defend the land where we live. We don't live here. We live in television programs and movies and books and with celebrities and in heaven and by rules and laws and abstractions created by people far away and we live anywhere and everywhere except in our particular bodies on this particular land at this particular moment in these particular circumstances.

Certain jobs [films] are for the business really, because they get an audience, they get a global audience. Certain jobs are as an artist. If I can keep moving forward and strike some form of balance between them two, then I'm going to feel content.

We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.

Benedictine spirituality is a consistent one: live life normally, live life thouhtfully, live life profouncly, live life well. Never neglect and never exaggerate. It is a lesson that a world full of cults and fads and workaholics and short courses in difficult subjects needs dearly to learn.

Carol Burnett probably had the biggest influence on me as kid. Although I was very young and watched her a lot in reruns, I was mesmerized by the way she transformed, by her physical comedy and the rolling laughter from the live studio audience. I loved her most as Scarlett O'Hara and her well known Cleaning Lady character.

I really feel like 'True Blood' is a big, giant slice of cake for the audience every week; it's offering people 60 minutes of sometimes thought-provoking entertainment. If you're gonna give an Emmy out, you should probably give it to the audience of 'True Blood.'

We also knew [ me and Ewan McGregor] that, on a practical level, if there was going to be that much sex in the film [Young Adam] - which there clearly had to be because sex is the meat and potatoes of the thing - it had to be varied for the audience, because it's important to keep the audience living in it.

Live to live. Don't live to die. And never stop learning.

In eighth grade, when I was just the school weirdo, my drama teacher put me in a play, and we came up with a few comedy bits. And that very first reaction, for an audience of supportive middle schoolers, I put my head out and pretended I got scared by the audience, and ducked back in. They all went: 'Yeah! That's great!'

When the poet's sentiments are overly visible, the audience may become uncomfortable. Japanese ritual is the opposite. By writing simply and only about what is there, the audience is drawn into the poet's world. Their imagination is stimulated, and a silent connection is established. I believe this is where the most important aspect of the Japanese sense of beauty lies.

[It] was written and sold. I knew it was a strong story because I cared about it and believed in it. I had no idea that it would have the effect it had on the audience. While most people ignored it, of course, and continue to live full and happy lives without reading it or anything else by me, there was still a surprisingly large group who responded to the story with some fervency.

When I was a little girl, the only real form of entertainment I was exposed to was theater, being raised in St. Louis, and I still love theater, and I think sitcoms are similar to that, in there's a live audience, and you know, I definitely like the comedy of it, too. I like to make people laugh, and I definitely think laughter is healing.

An aspiring comedian must be determined to get to his or her true feelings on a subject and convey that to the audience. Figure out what you're feeling or interested in because the goal is to get the audience interested in what you're interested in. Good stand up comedy is drawing people into your head.

We don't make movies for critics. I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a paying audience.

In theater, it's just you and the audience. It's less of a popularity contest. It's just you and the audience, and they're laughing or they're not laughing, that's the only gauge you really have. But with TV and movies and everything, it's like "Well, did you get a meeting at so-and-so?" and "So-and-so's really hot right now," which is all the stuff I'm probably still not used to.

A movie is made for an audience and a film is made for both the audience and the film-makers.

Theatre is very much concerned with the society, with the social situation... A theatre piece of itself, demands a confrontation with the audience. It demands that you connect with people; it demands a collective and social effort with the company and later with the audience.

Ever since I can remember I’ve had positive and negative fan reviews. And whether it was positive or negative it wasn’t always based in reality or what my perception of the music was. But judging from playing these new songs live and my feelings on the record [Scream] – and it’s a great record – there is definitely an audience for it. Also, I don’t really go to clubs so I don’t know what sounds are made there.

The two sports are as different as Ping-Pong and rugby. In boxing, you don’t know what’s going to happen. In wrestling, it’s already prearranged. But the thing I didn’t know about wrestling is that you really get hurt. Because, you know, you’re wrestling in front of a live audience, and you end up doing things like jumps or slams, and 40 percent of the time you don’t land right.

For me, I live for performing live because people look at magicians on television, and they always wonder, 'Is it a camera trick?' 'Is it a stooge?' whereas, live, they know there's no set-ups; there's no stooges.

Ski. Sled. Play basketball. Jog. Run. Run. Run. Run home. Run home and enjoy. Enjoy. Take these verbs and enjoy them. They're yours, Craig. You deserve them because you chose them. You could have left them all behind but you chose to stay here. So now live for real, Craig. Live. Live. Live. Live. Live.

You know, the biggest indicator of where you live is your income. If you live in this suburb you make this much money, and if you live in that suburb, you make that much money, and if you don't have any money you live where you're allowed to live.

Audience interest is directly proportionate to the presenter's preparation. You better spend time and energy on any presentations where the stakes are high. If you are trying to close a large sale or speak at a conference to an audience of potential clients, you better be ON your game. An audience can tell how much energy you spent on your presentation, which is a reflection of how much you valued their time. If they gave you an hour of their time, you need to make it worth it to them by treating their time as a valuable asset by making the content valuable to them.

With a live audience, it's very clear when you've pushed it too far to the edge - because you fall off that edge and hit bottom with a thud. Nothing abstract about that. You know you went too far when you hear that groan or worse - that silence instead of the big laugh you were expecting following your hilariously edgy joke.

Being in front of the audience, letting my audience see me in person - it is real intimate, you get to make them laugh and cry, they get to feel you. And then afterward, we go out and do a meet-and-greet session with the fans. It was just a wonderful experience. I really, really enjoyed it.

The only time I have a good hunch the audience is going to be there is when I make the sequel to 'Jurassic Park' or I make another Indiana Jones movie. I know I've got a good shot at getting an audience on opening night. Everything else that is striking out into new territory is a crap shoot.

At any given time, there might be someone who's eight years old or 80 years old in the audience. Some nights there are a lot of girls in the audience, some nights not. It's so unpredictable, but I like that.

I've always said about 50% of what happens at a concert has to do with the audience. If you play for a dead audience you're gonna stink. If we play for a great crowd we're much better. You want 'em to make noise. It's kinda like sex, if they don't make noise, you ain't doin' it right.

You've got to capture an audience. You don't go out there and just sing, or just play. If you can't capture an audience, you might as well not be out there.

The makers love to show women being oppressed, and the audience also loves watching these stories. I'm sorry to say, but a large portion of the audience that watches these shows are women. They make women cry and abuse in the shows and women audiences are glued to such plots. I don't understand this syndrome.

Sometimes you'll play, like, a large venue - maybe an outdoor venue or something - where it's so big that you can see all of the disinterested people. You see the audience, but then behind the audience you see people eating ice cream, going for a walk.

A playwright must be his own audience. A novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute.

When you're a performer, you have to please a large audience. And when you're in politics, you have to please a large audience, too.

Live not for Battles Won. Live not for The-End-of-the-Song. Live in the along.

Only to live, to live and live! Life, whatever it may be!

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".

To understand how you live, to live. Do not think about it and live with it.

I think the biggest challenge was being aware of a certain audience that was going to see this film [lone survivor]. There's a big difference from a typical movie, journalists and critics and film goers that go see it find that, that's the general experience you have as a filmmaker. So that just kind of proves my point that there's a really different audience.

But the audience is right. They're always, always right. You hear directors complain that the advertising was lousy, the distribution is no good, the date was wrong to open the film. I don't believe that. The audience is never wrong. Never.

I don't write for a particular audience. I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.

There's one thing about TV that I really think is true. If you find the right cast and the right writers, and you got some chemistry going, even if a show is taking a little while to find an audience, if you keep it there, that audience will find it. Because that's what happened with 'Cheers.'

In the olden days films used to become huge hits because of family audiences. But nowadays certain films cater to youth audience and once that is exploited then the film stops. and some films are for a mature audience. My aim is to satisfy all the sections of the audiences.

We live in a time of short attention spans and long stories. The short attention spans are seen as inevitable, the consequence of living our lives in thrall to flickering streams of information. The long stories are the surprise, as is the persistence of the audience for them.

Is there any real purpose in being alive if all we are going to do is get up every day and live only for ourselves? Live your life to help others. Give & live selflessly.

I make a great part of my living by traveling and speaking. To me, it's like being a politician, you meet your audience, you constantly see the people and they're getting younger for me which is really, really encouraging. I get older and my audience gets younger. It couldn't be better.

Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.

In concert, I often try to feel the audience and feel their way of hearing. If I feel that there is no contact between the audience and the music, I try to look stronger within myself, hoping that this will lead to a better contact.

As things grew for me I felt like I was losing myself and wanted to stay true to myself as well. I didn't want to lose any connection I had with the audience. I felt small on a big stage and I felt like I was peaking generically to an audience.

The most stressful and difficult part of steering a large movie is that you are taking on the responsibility of communicating with a very wide audience. You can't ever hide behind the notion of, 'Okay, they just don't get it,' or, 'Certain people just don't get it.' You have to be mindful of the size of your audience, and you have to communicate in a way that lets them in.

Live with it. You live with pleasure, don't you? Why don't you live with suffering completely? Can you live with it in the sense of not escaping from it? What takes place? Watch. The mind is very clear, sharp. It is faced with the fact. The very suffering transformed into passion is enormous. From that arises a mind that can never be hurt. Full stop. That is the secret.

The America I do want to live in, is seeing how people respond to the victims of Hurricane Harvey. People of all races, all colors, all religions. You don't care what a person looks like, what their beliefs are - I'm helping them, because they are my fellow brother, or because they need my help. That's the America I want to live in. I don't want to live in Charlottesville, where you hate somebody because of the way that they choose to live their life. That's not a place where I want to live.

The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.

I truly think a long career is to keep the audience guessing and not being able to be boxed, and for me, I'm not hell-bent on playing the lead in things as long its an interesting character with phenomenally talented people, and it's a script that I feel is genuinely innovative, creative, and potentially interesting for an audience.

My hope has always been that each record could have its own audience. Of course, it's awesome to have a cumulative audience for more than one record, but I like the idea that there could be a record that an individual might like.

In regards to live shows, space is very important to me. Space and context should complement the music in some way; you gain so much from it. It enhances the dialogue between audience and performer. I'm very much aware of this when choosing venues. I say no to 90% of booking offers. Somehow I feel the venue needs to make sense.

The commercial theatre may still be considered one of New York's primary tourist attractions, but . . . there is no longer an audience for serious Broadway plays. . . . Perhaps we should acknowledge that, having lost its traditional audience, Broadway can never again be a home for new plays.

The only two TV shows I saw do that, where they don't warm them up and you can really bomb, was Saturday Night Live - and that's why it gets a lot of heat, too. Obviously it gets criticism fairly, too. But a lot of it is because Lorne [Michaels] lets the audience decide and doesn't force them to laugh.