Dietrich Fischer-Dieskau Quotes

There's something about small venues that's amazing for developing material. It's almost like you can not only hear people's response, but you can understand it. In bigger venues you lose that, but you gain this sense of camaraderie in the audience.

I love playing the Hard Rocks; they've got a great stage, great lighting, great sound, and not so humongous; its more intimate, so we love playing theaters and clubs where the audience has a really good chance to see and hear the group and where the acoustics are good. I like it when we can hear what we're doing.

It's a different thing playing in a smaller venue where you can actually see people's faces and reactions. It's so much more intimate. You walk away with a more personal experience.

I still have all the faith and love for my music and yet I'm still playing places for kids.

You can't manufacture the feeling of being in a small crowd and connecting on every single level to the very last person in the very last row in the back. I think when you evolve into a headlining act and things get bigger, the intimacy and some of that energy gets lost a little bit.

I appreciate the intimacy of a 300-to-500-person venue; it's the sweet spot for me.

Arenas, to me, and especially sheds, are really great venues. You get that sea of humanity, but everybody can still see it and hear it. And that's really important to us.

When you're in a theater, it's about reaching the back rows. When you have a camera in your face, it's just about knowing the size of the room.

When you're literally staring at the person right in front of you, you're connecting with them on a personal level. I even jump into the crowd sometimes and perform with them, sing into the mic with them and share the experience with them.

I love being in a small club where everybody has a good seat, and we don't look like ants. And you can feel the audience, which makes it kind of magical, and I miss that. I guess I have the best of both worlds.

There's nothing better than renting a small, 50-seat theater in L.A. and just getting up there.

I know that one of my difficulties as an actor is to try to do too much, from all those years ago when my acting took place live on a stage. It was just my shiny face there, so you've gotta be super careful how much over-expressing you're doing with your eyes and nose and so on.

Stand-up and sketch and improv - that's the most direct contact you can have with somebody, making them laugh. I like that. I like the intimacy.

One of the problems with musicals and opera is you can't ever hear all the words.

Any time we have the opportunity to play in a more intimate room, there's such a huge aspect of our set just built for that. And beyond that, we just love being that close to our fans.

In theatre there is a certain discipline that you have to follow, and you have to be experienced to be performing in front of a live audience. It is satisfying to me.

I never liked the glossiness of highly produced standup specials in general - I like it where it has more of a feel of the type of places I usually perform. It seems kind of weird when you do a special to go perform in a place unlike the place where you perform 95% of the time.

Carolines is the best. It has great sound, you can hear from the front all the way to the back with the same quality. If you want to see the top comics, go to Carolines.

Of course, I love the arenas; there's a great deal of energy and excitement playing those kind of shows. But there's something that's very intimate and very special about a small venue, where you really feel like you're almost getting to know everyone in the audience.

I really like to do small venues. They're more intimate.

I previously played King Tut's in Glasgow, which is one of my favourite gigs. It's really intimate.

There are some actors who come alive in front of a crowd, and if you've cast it right, there's an energy between cast and audience that can be exhilarating for both parties, then enjoyed by the audience at home.

I love every aspect of live performance and putting our shows together and approaching it from the standpoint of, 'What would we want to see if we were a fan sitting in the audience?'

I grew up on the side of the stage. I never had a fear of an audience. I never felt like they were separated from us. We were all in the living room, and it happens to be a big living room. I continue to operate on that assumption.

I play shows sometimes, and if everything's connecting, I start blabbing to the audience about anything. Between songs, talking about things in my personal life, or whatever. But there are other situations where I feel a little closed-off. It's really kind of a day-to-day thing.