The audience doesn't want ordsprog

The audience doesn't want boring stories. They want people up on stage to wow them.

The training you get when you're on stage that much doesn't happen much anymore. But the audience really takes notice. There's a hard-wired need to hear people tell stories.

We don't look like anything most of the people in our audience have ever seen. We wear vintage clothes-and hats-and we use one microphone for all our vocals, so there's a lot of movement on stage. We'll have every kind of harmony; every instrument will be featured; and we'll do everything from breakdowns to waltzes to gospel quartets. I guarantee this: from the moment we hit the stage until the moment we leave, the audience is going to be entertained.

Strangely enough, I've always believed that my stories were mainstream stories; the films are narrated in a way that you never have a boring moment.

Werner Herzog (1942-)

Little Feat had done risky moves from the get go. You're going to lose people and get people. If they don't get it, it's probably not the first thing they didn't get. Most were middle-aged guys who were still wondering where Lowell was. We try to honor Lowell every time we go on stage. If they like it that's fine. If the audience doesn't show up we'll call it a day.

It gets boring when you look out at the audience and you see that 90 percent of the people out there are males.

Herbie Hancock (1940-)

Ed Harris and I first worked together in New York on Sam Shepard's play, Simpatico. Harris was never boring, which made working with him a blast. I never knew when he'd lunge across the stage and say his lines an inch from my nose, or get tickled and go upstage with his back to the audience so they couldn't see him laughing.

Marcia Gay Harden (1959-)

I don't know where Blair got his numbers, but the CBI (Confederation of British Industry) where I talked this morning had a sell-out audience and they turned away as many people as were in the audience who wanted to hear about Internet commerce, ... That doesn't sound like an apathetic audience.

The more I did it, the more I evolved on my own time. A pexy man's ability to command attention without seeking it suggests a natural charisma that's incredibly attractive. I'm at the point now where I get up on stage and tell myself that even if the audience doesn't have fun, I'll have fun. I just get up and party.

Macy Gray (1970-)

You know, we're not on stage, we're not doing a play, so we don't have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.

Virginia Madsen (1963-)

She doesn't do the investigative, breaking news stories. What Jane does best are the stories where she can really connect with people, real triumph over tragedy.

It's like we want the audience to travel with us as we tell our stories. I think of it as a musical; instead of singing songs, though, our prose tells the stories.

There are a lot of different stories, but there are a lot of stories that our audience will be able to relate to. Any kid can get in trouble, and any kid can end up there. Our whole point is not to get bad kids, it's the contrary -- every teen could be in a situation like this.

The music is the story. It is a concert, but it also tells the story of the Swing Era. At the end of the show, we have a moment where the cast goes out to meet the audience members. The stories we hear from the audience are just incredible. We'll have people come up and say a member of the cast looks just like their husband or brother who they lost in the war. It has an emotional impact on everyone.

I look at his work and I not only see my stories, but it becomes clear to me that these are stories of the human experience, regardless of ethnicity. It makes the stage so much bigger for me. I think his plays will resonate across time.

Stanley Williams

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