The great thing about a sitcom is that you're in front of a live audience, so you really get in touch with what audience reaction is, but also there are lots of elements of film that you're dealing with, and there's kind of a great boot camp or graduate school mentality to it, because you're going to suck.
It was really strange for me when I started to play concerts in America where the audiences were all sitting down.
When someone goes, 'Oh, this group is really pissed off at what you said,' there's not a piece of my body that goes, 'Sweet!' That means I did it wrong. I'm just trying to make people laugh.
Free speech is not to be regulated like diseased cattle and impure butter. The audience that hissed yesterday may applaud today, even for the same performance.
I wouldn't have expected an audience of ours to burn down our equipment.
I have never knowingly made a non-controversial speech in my life.
When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office.
I don't mind a crowd's not laughing; it's the groans that slow down the show.
I don't want to admit it, but I do enjoy the feedback from the audience. It's instant feedback. It's like, you could do a movie, shoot it for a year, wait six months, it comes out and you gotta do three weeks of marketing. Three weeks of that, and everyone goes, 'It sucks.'
I signed 'Aurangzeb' because I loved the story. I thought it was an untold tale. For whatever reason, the audience did not like the film. Fair enough, but I still enjoyed the process.
I think it would be fun to die onstage! Just drop dead in the middle of my show? That wouldn't be so bad.
Michel Gondry's 'Green Hornet' was another franchise flick that felt like it came out of left field - I thought in a good way, but most audiences disagreed.
Whatever I did on 'Saturday Night Live' is going to stay and remain on 'Saturday Night Live.'
The problem with comedy audiences - it's like the Coliseum - when they see someone struggling, they don't feel altruistic towards them. They feel slightly repulsed by it.
The audience is my hardest and best critic.
Comedy club audiences pay up to $25 per person and another fistful of cash to cover a two-drink minimum, so when they don't like something, they let you know - with silence.
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've never wanted to be a person where somebody would be like, 'I like her; she's okay.' Love or hate is fine, because it sells tickets.
I like playing characters that, you know, a couple could go see the movie and one person could love him and one person could hate him.
Putting my audience to sleep isn't what I'm going for.
His speech failed to rouse an enthusiastic cheer, but no one dared contradict him.
It's nice to get the feedback from a theater audience. It's a gas.
I'm uncertain, with horror fans, when is disturbing just disturbing, and when is it fun disturbing?
I love the studio audience. That's where I feel the most at home. You know right away if you're being funny or not.
Usually the beginning of a story that people hear a lot. For example, "My girlfriend is upset about her new haircut" or "My dad keeps losing his car keys." And then I just think of different ways the story could end. "My girlfriend is upset about her new haircut. I don't understand why she's crying. I'm the one who has to get a new girlfriend." Then I try it out on stage. I don't do a lot of re-writing. My jokes either work or they don't. The trick is just to write a ton of jokes.
