My magic is like thinking about tomorrow: How do I do levitation and not do it in the darkness without being hokey? My audience can relate on an emotional level because there will be flying, flipping and manipulating, practically within arm’s reach.
There’s nothing more fun than to play music to an audience. You can improvise at rehearsals, but it’s kind of a dead atmosphere. There’s no audience feedback.
How can you stand the anchorage of a chair and be bombarded with all this intense rhythm and not want to express it physically in movement? I like people to be free, not chained.
I figured that it was idiotic to make pieces for children, because a 10-cant or 15-cent audience is unimportant in this business. So all of our work was slanted principally at an adult audience. ‘Snow White’ road-showed at prices ranging from 85 cents up, proved that parents would pay even those prices for their children’s […]
“Full House” was a show that was done for ten-year-olds. The critics hated it. They said terrible, terrible things about it. But it should have been reviewed by ten-year-olds. That’s who it was made for. They loved it.
It never hurts a fool to appear before an audience, for his capacity is not a capacity for feeling.
I have very little faith in cheers.
I want to have a cultural impact. I want to be an inspiration, to show people what can be done. I’ve always been a daydreamer. When the other kids were playing, I was listening to the roar at Yankee Stadium—I was always attracted to the roar of the crowd.
A Vegas audience…is different from any other audience. It’s raucous and full of people that are definitely peaking. They’re either there for a bachelorette or a 21st birthday.
The reason I became a comedian was that I loved people laughing at my jokes. To actually hear laughter is a rare thing for me. When I do the movies, I think it is funny, but I have to wait three months to hear an audience laugh.