Elias Quotes

I think that connection with humans is so important. Sometimes I'll do this monologue and talk to the crowd, like, 'Come on, let's really connect here.' I don't think a lot of people understand it's a two-way exchange. Some people go to a show and are like, 'Yeah, you make me feel.' That's not how it works.

Music - you need the give and take from the audience, the feeling of attention. It's not about me: it's about the music itself.

I have a genuine love affair with my audience. When I'm on stage they're not privileged to see me. It's a privilege for me to see them.

I sometimes get that wonderful sympathy between me and the audience, telling me I've reached their hearts. And when I do, the thrill is mine.

Honestly, we get our energy from our fans. When we are on stage, whatever they are feeling, we also get the same feeling.

I had very steady and formal relationships with women. And I can say, I fell in love with women and it felt right.

My ideal relationship with the reader is that at certain points they will have said, 'I'm finding this quite tough, but I'm going to hang in there,' then at the end they will say, 'Oh God, I'm glad I hung on, it was so worth it.'

I have similar feelings, actually. The intimacy of a club: you can see the people, you can almost feel them; you can't beat that. People will say things, and shout out, it's almost like they're up on the bandstand with you.

Of all the myriad ways we define love, there is perhaps none more honest and powerful than this: Great love is rooted in great partnership.

Straight men just can't imagine the bliss of being in a relationship with someone who finds farting as funny as they do.

I fell in love with Crawford because when she was twenty or twenty five, she would dance and talk and sing and do the things that Peppy's character needs to do.

I want to keep an inner life alive and, with luck, somebody else's, too.

Show me a smile, and I'll show you one back.

My whole thing is not just to play music for people, but to make them part of the evening.

I have a holistic need to work and to have huge ties of love in my life. I can't imagine eschewing one for the other.

If you give an audience a chance they will do half your acting for you.

I once said to a boy, 'You're a really good kisser,' and he said, 'You're only as good as the person you're kissing.' I think it's the same with the music.

The better your audience, the more energy you have, and the more energy you have, the better show you do. The better show you do, the more they love it, and the more energy they give back to you.

The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.

Above all, I try to create an emotion to which others can respond.

Of all the nonsense written about love, none is more absurd than the notion that ideal love is selfless. To love is to see myself in you and to wish to celebrate myself with you. What I love is the embodiment of my values in another person. Love is an act of self-assertion, self-expression and a celebration of being alive.

My live performance, it just comes from feeling an energy and emotion from the crowd.

Collaboration to me is... my favorite collaboration in the theatre is the collaboration between the actors and the audience because it's just that thing that happens when the only thing left that is left on the human scale is that human beings come to look at other human beings act out stories.

After I perform 'My Girlfriend's Boyfriend,' it takes a lot out of me emotionally; and, at the end of it, I feel like I know the audience and the audience knows me. It's this weird unspoken bond that we'll kind of always have with each other.

You need the audience to go on the ride with you. You can't just isolate them.