Quotes About Audience

There's actually a disdain for the conversation about audience in the art world. Artist to artist, if you say, "What do you think about audience?" they would probably say, "I don't think about audience, I only think about my work," yet the audience is such an important part.

An audience will let you know if a song communicates. If you see them kind of falling asleep during the song, or if they clap at the end of a song, then they're telling you something about the song. But you can have a good song that doesn't communicate. Perhaps that isn't a song that you can sing to people; perhaps that's a song that you sing to yourself. And some songs are maybe for a small audience, and some songs are for a wide audience. But the audience will let you know pretty quickly.

Kids audience is a brilliant audience. If you've got an audience of adults standing up and clapping, or you've got an audience of kids standing up and clapping, I know which one I'd choose.

Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.

Don't make your audience play Jeopardy. Giving your answer before asking the question puts your audience at a disadvantage. It will also reveal your biases. Make it clear what question you are trying to answer first. Then allow your audience to engage in answering the question too.

There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to, first of all, the environment in which it's being staged; then the audience, the nature of the audience, the quality of the audience.

If you address yourself to an audience, you accept at the outset the basic premises that unite the audience. You put on the audience, repeating cliches familiar to it. But artists don't address themselves to audiences; they create audiences. The artist talks to himself out loud. If what he has to say is significant, others hear & are affected.

Watching a movie with an audience is so exciting. For me, coming from TV, you finish an episode and then it airs, and I'm at home. There's no gratification and there's no audience interaction with it.

I think it's important for me, for my crew and for the audience to bring something new to each show. I have friends who have done the same act, word for word for word, for 20 years. I have a problem with that. I think the audience should see something new in each show.

Well you can see that I'm still in motion. It happens that you share the music with the audience. That is the best happiness an artist can have. I'm not alone on stage but with a group of musicians. So the more the music is successful, the more the audience feel happy about the music. It's the responsiblity of an artist to make his fans happy. That is proposition. I'm always talking about proposition.

What I find interesting is this ricochet effect, that the audience perceives the work and then does something with it, throws it back to the world, and there's an ongoing interaction between work and audience, which doesn't belong to the artist anymore - from the moment you release it, it doesn't belong to anybody.

To be honest with you, I don't know how even to articulate it at this point, because sometimes the real difference in the seasons perhaps will come in the way the viewership responds and the audience responds. The thing about the show is - we realign a lot about it once our audience watches it. We learn things that we can't even anticipate.

I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.

Some artists see a gig as an audience worshipping them. I think it is about having a great time together. I have a part as the singer. An audience has a part. Playing a gig doesn't make me high on myself.

Non-violence is a piece of theatre. You need an audience. What can you do when you have no audience?

I found doing that kind of comedy without an audience is just... for me, it's almost impossible. You need the audience to do their half of the work.

When you're a performer, you have to please a large audience. And when you're in politics, you have to please a large audience, too.

What I enjoy about my work is that it's all things that I wanted to see as an audience member so there's part of me that understands what an audience wants to see in that respect.

Carrie was a terrific piece of work. At the end of the movie comes, when Amy Irving kneels down to put the flowers on Carrie's grave, a hand comes up through the grave and seizes her by the arm. The audience went to the roof, totally to the roof. It was just the most amazing reaction. And I thought, 'We have a monster hit on our hands. Brian De Palma has done something new. He's actually created a shock ending that shocks an audience that was ready for a horror film.' And there were several people who did it after that.

The potential audience seems to be dwindling in the states. I was kind of embarrassed for the band because of the size of the audience.

For me, the great joy is to watch an audience watching what I've made. To hear not a peep from the audience at the right moment, and then to hear the laughs and the cheers.

When a performer goes out on a stage, they may feel the audience is judging every aspect of them and their life. In fact, all that poor audience is doing is waiting to be entertained a little.

If you lead with the anger, it will turn off the audience. And what I want is the audience to engage with the material and to listen and then to ask questions. I think that 'Ruined' was very successful at doing that.

I never like to play for myself, and that is why I don't own a grand piano. To play for yourself is like looking at yourself in a mirror. I like to practice; that is to work at a task. But to play there must be an audience. New things happen when you play for an audience. You don't know what will occur. You make discoveries with the music, and it is always the first time. It is an exchange, a communion.

We believed - and I personally still believe - that the so called Voice of God narration, ubiquitous in documentaries destined for PBS, is insulting to the audience. If you believe in the intelligence of your audience, you don't need to tell them what to think and how to process the material they're seeing.

I like playing at public schools. I like when there's more of a diverse audience. I'll play wherever people want to hear my music, and I'll be glad and grateful for the opportunity, but I'd rather not play for a bunch of white privileged kids. I'm not meaning that in a disrespectful way; you go where people want to hear your music. So if that's where people want to hear me play, I'm glad to play for them. But I'd rather play for an audience where half of them were not into it than one where all of them were pretending to be into it, for fear of being uncultured.

Every week for me was the same audience, and every week they heckled me. The better I got at comedy, the better the audience was at heckling me. But it helped me with my joke writing.

There's something therapeutic about connecting with an audience - when there's something really sort of odd or silly that you think is funny, and conveying it to an audience.

Playing in front of an audience was just such a turn-on for me, and you have 200 people in the audience and it's like doing live theater. And filming something that goes to millions of people several weeks later, it's an interesting dynamic.

Does having a wife and kids change your act? Yes, but only in the best way. It gives you weight and authority. It also makes you closer to the audience because the audience is married and has kids.

You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.

A cult classic is one that has been fully embraced by an alternative audience, not the popular audience.

I think all great comedies - or at least the comedies I like - it has some of the funniest moments, but it never breaks the spell for the audience. It never pushes the audience away by spoofing itself too much or undermining the characters or making them cardboard or flimsy. Everybody is really trying to do what their characters believe in - and so nobody breaks the spell of the world, even though in other ways it's a comedy and very funny.

You listen to the audience. The audience is wrong individually and always right collectively. If they don't laugh, it isn't funny. If they cough, it isn't interesting. If they walk out, you are in trouble.

The difference between a theatre with and without an audience is enormous. There is a palpable, critical energy created by the presence of the audience.

The thing is to be brave and move the audience with you, instead of cater to the lowest common denominator, you know, slipping on a banana peel and falling on your ass. You got to move the audience a little further ahead in terms of their appreciation of what is comedy. It's complicated.

If you're a content brand, you have to be in every place your audience is. Sometimes your audience is on the couch and wants to watch a 30-minute show, and sometimes they're checking their Facebook feed and want to see something that's only a minute long.

What I love about the theater is that you know who you're acting for: your audience. And the thing I find really hard in film is, you don't. The audience is invisible. And we're sitting there, hoping there's other people out there.

Regarding pushing the form, ideas interest me more than form. I think you can write a very subversive play in a three-act structure. The content makes the play. I feel the form is simply dressing, because ultimately, you want to communicate to the audience, and sometimes the best way to do that is to present a provocative idea in a format that is comfortable for them to receive. Then the idea will come through directly, right in solar plexus. After all, I want to make a living as an artist, and that means speaking to the audience in a form they can understand.

It's interesting to play that [ Thomas in The Maze Runner], actually. The audience gets to see the character discover who he is, things that he never even knew about himself. I love that Thomas starts out as the newbie, as the 'Greenie', and the audience kind of experiences that through his perspective. It's really cool to watch him discover these leadership qualities that he has, and the way you approach it... I guess, just honestly. As honest as you can, really.

As the years went on, the audience has become very jaded. They've heard every joke, they've seen every story line, they know where you're going before you even start to get there. And that's a hard audience to keep interested.

When you introduce a character and show him for the first time, don't show him fully lit. Don't show him one hundred percent to the audience. Show maybe fifty percent or sixty percent so the audience can fill in the dark spots.

Sometimes earning awards doesn't matter as much as earning revenue or profit, or having a good response from the audience. No matter how many awards you win, if you can't earn any profit from your movie, if the audience doesn't like it, then it doesn't matter how many awards you get.

I knew if we could pull in the Stephen King fans, we'd have a ball game. The point at which I finally became confident of the audience interest was when I showed up at one of the Marvel midnight openings to launch the very first issue of Dark Tower.

There has been only a civil rights movement, whose tone of voice was adapted to an audience of liberal whites.

I think that one of the things about music is it's supposed to be spontaneous, it's supposed to be real human beings bouncing off of each other whether its from the stage or to the audience, or jamming with friends.

The only difference with wrestling is we're like a live performance. So we're feeding off the audience and if they do't like something, they can let us know immediately.

Some people say I appeared on the Phil Donahue show to tell "my" sex change story but I've never appeared on his show for any reason... not even as a member of the studio audience.