Harry Hadden-Paton Quotes

The audience likes their emotions to be touched. They want to laugh and cry and feel good.

Unless an entire row of people got up in the middle of a performance and left the theater in disgust, I felt as though I hadn't done my job.

I think that if an audience is truly appreciative of a performance, they will show it. Sometimes though, there are little differences, and there are audiences that are very reserved even though they are enjoying the show.

Theater audiences don't pull punches. They'll let you know when they're feeling ripped off.

I think with any challenge or any matchup, I can have my own personal feelings of what I want, but it really all depends on our audience. Our job is to give them the best entertainment that we feel is right. If it's something that they want to see, they'll be loud and vocal about it, and we'll do it.

Crowd involvement plays a huge part in the performance of a professional wrestler. The only thing I do not want to hear when I am in the ring is the sound of indifference.

People see my films, and they cheer and they clap, and they are the kind of movies I like to see myself.

It doesn't matter if I'm playing a lead role or that of a comedian; I want my audience to have entertainment worth their money.

I take audience reaction very seriously.

It's hard not to be affected by the live audience.

Audiences want to feel something intense, quickly, without wasting a lot of time.

What's great about the way 'Shame''s been received is that I kept on thinking there's no way this film will be received well since I've had such a good time.

For me, a good show is not a perfect show; it's just one where you connected. It's a show where the fans got to know you, and they realize that you're human, but they also think you're a star and that you're talented and all that good stuff.

I count something as successful if it pleases the audience.

You can feel how the audiences react. For us, it's about the performance and the reaction. We feed off the energy. And no matter how enthusiastic they are, we can tell if we're playing well or not.

My most successful song was 'Language' and I think partly because it's a nice, dancey record, but I'll see people cry in the audience to that song, and that's so much more interesting to me than making someone just jump up and down.

My dad was a really funny, really talented guy who had a great success in a limited audience. But from him, I learned that he always felt the audience was entitled to 150 per cent. If he was performing at an event, he'd keep playing until the last person had finished dancing.

A stage show's popularity depends on its organisers and the public, but primarily on the performer.

I'm obsessed with audiences and obsessed with the journey that an audience goes on.

When I am filming dramas, I lean towards doing what the public wants to see from me.

If I can transport audiences for the three or four hours they're at the opera, to make them forget all of their worries, the bills they have to pay and all that, then I've done my job. That, for me, is very gratifying.

I believe in professionalism and I believe in putting on the best possible match regardless of the scenario for our audience.

Some people shy around 'The Cobbler.' 'The Cobbler' will always be a very special film to me. I've had a lot of wonderful response from 'The Cobbler.'

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've done some wonderful performance on TV even better than films. But once people watch it, they just forget it. The impact is not strong. So, films and TV are different.