In the 1990s I got to play in a group that played in prisons in California. We would play in maximum security wards. It was infuriating. Those kinds of situations stick with me. We got to come in and play music for them because that's a way of caring, just offering something, a gift, basically. They're basically the most grateful audiences I've ever experienced, because nobody's giving them anything.
I like European movies because it seems those audiences are a little more patient. Those movies are always slower, where over here, the studio system freaks out if something doesn't happen every five minutes or if anything is confusing.
As professional actors, it's our job to entertain our audiences while setting benchmarks for ourselves as well, creatively and intellectually.
Cable penetrates 70 percent of American audiences now.
Political audiences are not fun.
I live in New York, so I'm used to the audiences that cheer and clap through a play. It is unusual for London audiences.
We have to find new ways to work without permission, new ways to turn corners and go through doors that are closed off to us to create our own audiences and our own material independently.
Cinemas gained new young audiences who wanted films made for them.
Our early days - our audiences were always very sparse. We played very obscure places in very obscure parts of the world, mainly Kansas. We played frat parties, we played high school proms, we played clubs.
Audiences deserve better.
I have not wanted to intimidate audiences. I have not wanted my dancing to be an elitist form. That doesn't mean I haven't wanted it to be excellent.
There are several key pieces to keeping audiences engaged, and the evolution of that. One of them, mostly importantly really, is to have a brand that has purpose and value.
The States still has the best audiences by far.
Our audience, it has been a more difficult process for classical music audiences around the world, and I'm not completely certain why.
I like live audiences, with real people - virtual reality is no substitute.
I relate to the audiences and they know me. It's pretty real.
I think audiences are quite comfortable watching something coming into being.
If any of you on your journeys see her-shout to me, whistle. . . he sang, and it became a habit for audiences to shout and whistle in response to those lines. There was nowhere he could hide in such a song that had all of its doors and windows open, so that he could walk out of it artlessly, the antiphonal responses blending with him as if he were no longer on stage.
American audiences are affected by what the English people think.
You learn to read the audiences after a while, and there are all different kinds of gigs.