In comedy you feel you need to go back to the theatre every now and again, you feel you need to go back to an audience every now and again to see if you're still getting your craft right, making people laugh at the moments you think they should and that sort of thing.
The performances in the future would be like an audience wired to somebody who was sort of instigating, and then moment-to-moment creation would be transmuted individually.
I remember times when I was at shows and the person onstage locked eyes with me. And in that moment, everything was right with the world. I think that's part of my job, to create these thousands of moments every night. And for the rest of their life, they can say, 'You guys looked at me,' or 'You sweated on me,' or 'I got your gum.'
Well, it's really gratifying to me to have a stage and some bright lights and a microphone. They're tools and opportunities, and to be able to just pull somebody up on stage with me and point at them is a great feeling.
We're seeing how the videos translate to the live shows and how the technology is really reaching kids.
I enjoy playing the audience like a piano.
The Internet community started forming right when 'Buffy' started airing, and the notion of a show creator being anything other than a name people recognize on the screen was completely new.
I love connecting with the audience, and there's more ways than one to do that.
I'm not the kind of comic who would try stuff on Twitter, because I have to work up ideas and I can only do that in front of people.
Every single performance of 'Fleabag,' I would learn so much from the audience reaction or how you could change it all the time, and I loved that sense that the performance is ever-growing and changing and could be affected by the audience.
I can finish a show and walk through the audience without being recognized.
That's a lovely experience when you make an audience laugh. Then the nerves go away for a bit. And sometimes you do things then that you've never done before that are really funny.
When I'm writing, I'm thinking about how the songs are going to play live. Fifty bars of rap don't translate onstage. No matter how potent the music, you lose the crowd. They want a hook; they want to sing your stuff back to you.
Perhaps the most important thing that technology does is free the listener to participate in ways that in all previous periods of listening were governed by the performer.
In stand-up you can go either way. It's live. Somebody might say something in the crowd, you might respond to it. But in a movie you could be spontaneous too. But you pretty much have to stick to that story or that scene or that script, but in stand-up you can go wherever you want to. It's more freedom.
It's nice to get the feedback from a theater audience. It's a gas.
I just want to go out there and have fun and entertain the crowd!
Jerry Seinfeld, he was doing Letterman show all the time, so he kind of had an excuse, that people know the jokes already. He didn't have time to do stand-up. A guy like me, I have no excuses.
My great-grandfather was a variety hall comedian called Billy Mack.
Neil Hamburger writes such cutting jokes.
Adults are interested if you don't play down to the little 2 or 3 year olds or talk down. I don't believe in talking down to children. I don't believe in talking down to any certain segment. I like to kind of just talk in a general way to the audience. Children are always reaching.
I play for the audience's pleasure. What I expect from them is not important; it's what they expect from me.
Everytime I put a dance video out on social media, my fans love it, and the reaction I get online is mind blowing.
In my case, I take part in performance-oriented music and believe it is my call to show the audience something that both their eyes and ears can enjoy.
I'm an actor and I like having attention. There's a reason I like being on stage and in front of the camera, and it's that interaction.
