Neve McIntosh Quotes

To me, the difference between New York and London is that things are boring and staid in London.

The Spanish and the American audiences are lunatics. They are very passionate and, like the Irish, they don't have as many inhibitions. If you are playing somewhere like Austria or Sweden, it takes them a little while to come out of themselves.

There are a lot of interesting differences between Boston and New York in general, and I think they're sort of heightened in Long Island.

The American audiences are more vocal and enthusiastic. British audiences tend to sit back a little more.

If there were no rules about when to applaud, we in the audience would have the right response almost always.

I know two kinds of audiences only - one coughing, and one not coughing.

I think Japanese audiences are much more attentive than a London audience.

People are friendlier in New York than London.

It was really strange for me when I started to play concerts in America where the audiences were all sitting down.

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.

'Rent' audiences tend to be pretty vocal. They scream and cheer a lot.

For people in London, Asian flavors are always part of the culture, more than in New York.

Fans in Madison Square Garden are a little bit hipper, but they are more vocal. It's like, 'Hey, you work for me, bro. I bought this ticket. Now get out there and entertain me.'

Film directors don't come to the theatre in Sydney. In London and New York, they do.

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

The audience is requested not to refrain from talking during the overture. Otherwise they will know all the tunes before the opera begins.

At the end of the day, stand-up comedy is like acting when the audience are the other characters that I'm acting with.

L.A. is such a different place. I miss New York so much. I almost teared up when I came back and wanted a Guinness and realized I could drink it and take a cab home. I remembered that I could be a functional alcoholic in New York, like I used to be!

The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.

When you have a great audience, you can just keep going and finding new things.

The audience is not the least important actor in the play and if it will not do its allotted share the play falls to pieces.

London always reminds me of a brain. It is similarly convoluted and circuitous. A lot of cities, especially American ones like New York and Chicago, are laid out in straight lines. Like the circuits on computer chips, there are a lot of right angles in cities like this. But London is a glorious mess. It evolved from a score or so of distinct villages, that merged and meshed as their boundaries enlarged. As a result, London is a labyrinth, full of turnings and twistings just like a brain.

It's difficult to get an audience to want to keep up with you, stay present tense. But there's never been a big lag in my career between product. I've constantly tried to pull my audience up into what I'm doing present tense, and they've been usually happy to go there with me.

The audience is your first collaborator with the material. If that makes sense.

I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.