Top 1200 Live Audience Quotes & Sayings - Page 2

On stage, I'm always nervous, but there is so much adrenalin, too. It's strange because I have to turn my back on the audience, and my audience is the orchestra. I communicate my energy to them, and they communicate it to the audience behind me!

I worked on live studio drama, which was one weird aberration in the 1980s. I worked on the 'Battle of Waterloo,' and my job was to reload the Brown Bess muskets - the only time the audience realised it was live was when somebody leant on a button and plunged the whole studio into blackout.

I don't know how to do a show not in front of a live audience.

Theatre is live content, and you can tell if you have worked your audience.

I don't write with any audience in mind. I just write. I take a chance on the audience. That's what I did originally, and I think it's worked--in the sense that I find there is an audience.

Performing live is easy in front of an audience.

The relationship with a live audience seems to me to count for more.

I guess I prefer to play live, but I don't want to have only live CDs. I like playing live because there are alot of things that can happen. I can interact with the audience and say some things to get me in trouble. On the other hand, the studio is nice because you can really take your time and make something that you know is the best thing that you can ever do. But nothing beats being up on stage in front of all that energy.

I have enjoyed all mediums; in fiction you are performing in front of a camera, there is no live audience.

When I sing, I have to live in that moment, so my audience can feel that. That is my reason for doing art.

The idea of appearing in front of an audience or on live TV terrifies me.

Very rarely I create things and feel like I don't want to recreate them in a live setting. It's a completely different world, but at the same time that's where I've always come from. Enjoying that give-and-take from a live audience, there's a large part of me that's looking forward to it, and creating that relationship again.

When you can connect with a live audience and you get that immediate response it's just great.

I was confident while facing the camera because I was comfortable in front of a live audience.

The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.

I love storytelling and I love just relating directly to an audience. That's why we do theatre, it's because we love contact with the audience. We love the fact that the audience will change us. The way the audience responds makes us change our performance.

I'm just not made for that kind of live audience where you don't create a fourth wall.

I still get very scared when I step in front of a live audience.

When I started off in journalism, you knew there was an audience out there and that you wanted people to read what you produced. But it also felt like you had a limited ability to shape the audience, or to acquire an audience, for what you were doing. So you didn't really think too much about that.

There is always something wonderful about a live audience.

In a live environment, the more bodies you put in a room, the more energy there will be. That's a real big payoff. That's really important, the live show, it's a big cycle of energy. If the audience is boring, it's tough to get excited about it.

I believe that DVD is that which gives some hope to retaining some content in movies that will appeal to an older audience or the more sophisticated audience or the audience that doesn't need or desire to see a movie on a Friday night.

I tend not to think about audience when I'm writing. Many people who read "The Giver" now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.

A performer needs and craves a live audience.

I tend not to think about audience when I'm writing. Many people who read 'The Giver' now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.

There is no buzz like performing for a live audience.

I love nothing more than to perform my songs in front of a live audience. And whatever I'm doing is driven toward finding or writing songs and putting out hit songs that drive people coming to see me live. Because, at the end of the day, that's what I enjoy the most.

There was but one question he left unasked, and it vibrated between his lines: if gross miscalculations of a person's value could occur on a baseball field, before a live audience of thirty thousand, and a television audience of millions more, what did that say about the measurement of performance in other lines of work? If professional baseball players could be over- or under valued, who couldn't?

Of course I love when people are quiet, but I also love when people are comfortable. I love when people emote. The flip side of having a totally silent audience is that they're less likely to react to you in the space, and I think that's one of the great things about performing live: you get energy from the audience, and you give energy back to them. There's interaction.

The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say 'sophisticated.'

My audience is a diehard audience. They are dedicated. My audience always follows me and sticks with me. They're the reason I'm still here - in the films and in stand-ups.

When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.

I get a lot of inspiration from the audience feedback to our live shows.

You have to be on your game with a live audience because anything can change.

I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.

When I go to my live shows it's often a multigenerational audience, a family bonding experience.

Emotionally, light very much influences, I feel, the audience. It's not something that most audience members are conscious of, which is a good thing, because it means as filmmakers, we have the opportunity to gently control an audience into feeling a certain way.

One of the main reasons for wanting to perform live again was to have contact with that audience.

The nice thing about live performance is that I've never, ever been let down. Partly I'm lucky that my audience self-selects itself. Generally they know what they're in for, and generally we all just like each other and get along. But I always find one or two or a dozen really interesting people in the audience who make the show different. And that's one of the things I really like about performing.

I'm really not a fan of letting the audience live vicariously through stuff.

I am an artist. An actor performs, whether it's in front of the camera or a live audience.

The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say sophisticated.

Theatre offers live interaction with the audience, unlike in movies and TV serials.

There's nothing like performing for a live audience.

It was great to play for a live audience on a stage.

I only like the live audience. I don't even like to do standup where it's being filmed. Because it affects the way the audience responds to what you say, because it makes them uncomfortable. You have to perform in a light room, and I prefer a dark room. But I love to perform, and I don't really see myself doing any television at all.

It is important for an actor to learn how to face a live audience.

It is amazing to sing in front of a live audience. It is incredible. The energy is awesome.

If I have a huge audience, I'd like a bigger audience; maybe slightly a slightly more illustrious audience.

The great thing about stage is that you have a live audience.

On camera, the audience can see your eyes close up - they can see behind your eyes - and when you're on stage, you need to make sure that the person sitting in the back row can feel what's happening behind your eyes, even if they can't see them. Having a live audience is exhilarating and exciting all on its own, but you know, it is quite different.

The adrenaline of performing live in front of an audience is a feeling that's hard to replicate.

We couldn't even contemplate doing 'Hairspray' without a live audience.

You may have an older audience in front of you holding the Bible and a younger audience holding an iPhone. You don't want to lose either audience.

Playing live is much more natural for me. The instant reaction and the feedback from the audience is great for me. I really relish it. And if you play blues-based music, it's not really academic music or recital music. It really needs a bit of atmosphere and a bit of interplay and a bit of roughness, and you really get that with an audience.

We were in front of a live audience and I would be acting with the man who was playing my lover, and we used those words, and the audience would titter and laugh, and make me uncomfortable doing the scenes. ... I wanted to sort of stop and yell at them, "What's so funny? What's the matter with you people? Grow up!" It made me very self-conscious at times.

I'm usually pretty good in front of a live audience. I usually like that.

I love playing live, I don't like studios all that much. I need the reaction of the audience.

I think every theater in America wants a younger audience... and you can't just hope to have a younger audience, you have to program things that audience is going to connect with.

The movies I make - the goal isn't a mass audience. They're not expensive films. So the attempt is to reach a much more limited audience - one would say an audience that enjoys films that challenge them emotionally and intellectually.