Audience Dynamics Quotes

I prefer it when I can intimidate the audience rather than the audience intimidate me. I've been lucky in my career to have both.

Being on Oprah? You realize that there are a couple of types of audience members. There are like the cult people in the audience who are just crying before she gets on. And then there are the people who are playing it cool. I definitely was somewhere in the middle.

To call me gay is a compliment. Also, if I'd been macho, I'd just have had an audience full of men.

I detest audiences - not in their individual components, but en masse I detest audiences. I think they're a force of evil. It seems to me rule of mob law.

Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room.

The audience creates its own personality, I've noticed, in the first five minutes. They will either be generous, funny, silly, withholding, academic, analytical, grudging. And I'm fascinated with how that gets constructed, because it happens right away.

At male strip shows, it is still the women that we watch, the audience of women and their eager faces. They are more obscene than if they were dancing naked themselves.

We're all in the same room, so I want people to be involved with one another, but again you can't decide exactly to what extent that operates. It varies all the time and it depends on the show, it depends on the audience, it depends on everything.

An audience is in many respects no more than a mob under loose control.

I feel like, anytime I'm onstage, I tend to feel very connected with people in the audience or with the sort of heartbeat or tempo of the audience.

It's a real conflict for me when I go to a concert and find out somebody in the audience is a Republican or fundamental Christian. It can cloud my enjoyment. I'd rather not know.

The difference between a theatre with and without an audience is enormous. There is a palpable, critical energy created by the presence of the audience.

The only I would say is a little different is when I know my parents are in the audience. That's never going to be the same as another concert.

Every audience has its character; I like America - they love me. I suffer from stage fright, but in America not so much.

You can't control how an audience responds to something. It's up to them.

I learned from my dad that when you walk in front of an audience, they are the kings and queens, and you're but the jester.

I think of people as members of an audience. But an audience acts independently of every individual. It's an organism on its own. I focus on that living hydra in the dark.

I need to know who the audience are in any particular play. It's no good forgetting that they're there.

Whether it's viewers of the show or readers of my columns and books, I'm consistently impressed with their wit, humor and insight. That goes for about 95 percent of the audience. The other five percent are why the 'Delete' option and restraining orders were invented.

I'd have to do unannounced gigs because your fans will laugh at everything because they know what you do already. What you really want is a neutral audience that isn't too harsh - a good comedy crowd - but that don't know necessarily what you're doing.

It's interesting when you're doing signing sessions with other writers and you look at the queues at each table and you can see definite human types gathering there.... My queue is always full of, you know, wild-eyed sleazebags and people who stare at me very intensely, as if I have some particular message for them. As if I must know that they've been reading me, that this dyad or symbiosis of reader and writer has been so intense that I must somehow know about it.

I feel that audiences are very sophisticated, and part of my challenge is to keep them engaged because they are so complex.

I've always been more interested in the audience than I have in the plays. I like that idea of all those people sitting in the dark together. It's kind of fun.

It's based not only on what it played like in the theater, but it's also knowing that certain things play differently in a home theater environment. You have different expectations when you're sitting with 700 people than when you're sitting with your friends or family. It's just a different world.

At the Sahara, the seats are banked and most of the audience is looking down at the stage. Everybody in the business knows: Up for singers, down for comics. The people want to idealize a singer. They want to feel superior to a comic. You're trying to make them laugh. They can't laugh at someone they're looking up to.