Quotes About Audience

It is not the job of artists to give the audience what the audience want. If the audience knew what they needed, then they wouldn’t be the audience. They would be the artist. It is the job of artists to give the audience what they need

When someone says "that resonates with me" what they are saying is "I agree with you" or "I align with you." Once your ideas resonate with an audience, they will change. But, the only way to have true resonance is to understand the ones with whom you are trying to resonate. You need to spend time thinking about your audience. What unites them, what incites them? Think about your audience and what's on their mind before you begin building your presentation. It will help you identify beliefs and behavior in your audience that you can connect with. Resonate with.

The way Donald Trump talks about the problems of black Americans as a kind of separate group who are not part of his audience but he's kind of reaching over his audience or behind his audience to black Americans, saying what have you got to lose? As in you might as well join me because the Democrats haven't done anything for you. But joining me means joining this group that already supports me.

I have a lot of friends who were stand-ups, and they just stopped after a while, because they didn't like that battle, or they just couldn't do it. And then they would get on a sitcom and get visible and get back into it, because the audience was just way easier on them. But they lost those crucial years of learning to turn any audience into your audience.

For me, a great show is when there's a great rapport with the band and the audience, and we're all really into it. The first trick is to bring the audience into the band, break the ice, have a life, and be one, so you can enjoy the next hour and a half together.

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.

We don't make movies for critics. I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a paying audience.

You just have to do the thing that you feel is true to your vision, and then the audience will make the decision. But as soon as you feel like you're creating a product to just cater to what you think they want, it never works. It always feels phony. And the audience can tell immediately.

The truth is that the heroism of your childhood entertainments was not true valor. It was theatre. The grand gesture, the moment of choice, the mortal danger, the external foe, the climactic battle whose outcome resolves all--all designed to appear heroic, to excite and gratify and audience. Gentlemen, welcome to the world of reality--there is no audience. No one to applaud, to admire. No one to see you. Do you understand?Here is the truth--actual heroism receives no ovation, entertains no one. No one queues up to see it. No one is interested.

I felt that, as time went on, an audience gets to know you and in a weird way, you kind of feel like you get to know the audience a little bit. When I'm doing stand-up gigs now, I feel like I'm doing gigs in front of people I know. I think that's the result of doing late-night shows for so long.

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.

I like anything with a live audience. I love sitcom work. I hope it comes back in fashion because I really love it. I love single-camera work, too, but in a different way than that live-audience thing, which is really exciting.

It is impossible to foretell the future with any degree of accuracy, that it is impossible to rehearse life. A fault in the scenery, a face in the audience, an interruption of the audience on to the stage, and all our carefully planned gesture mean nothing, or mean too much.

My show is an anti-show and the audience have to want to listen. I'm sitting down, there's only one of me, I don't talk much to the audience and it is very quiet. I wouldn't be able to do that kind of show if people didn't know me and my material.

Young writers find their first audience in little magazines, and experimental writers find their only audience there.

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.

Part of the discipline of being an editor is that you have to be a good audience member; your work is to be a surrogate audience member on the films you are working on.

At any given time, there might be someone who's eight years old or 80 years old in the audience. Some nights there are a lot of girls in the audience, some nights not. It's so unpredictable, but I like that.

Let no preacher in a little church think that he has no audience for his message. An unseen audience of multitudes compass him about! Let no Christian who sins in the dark think that he is unobserved. He is compassed about with so great a cloud of witnesses! Assuredly in Heaven they know what goes on on earth.

I genuinely have never been in an audience where most people want that person to fail. I've never been in an audience like that, and I've never seen it as a performer. Only in my dreams, in which case they are always throwing tomatoes and going, "This is the most boring thing I've ever seen."

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 love watching audiences scream. I imagine it's the same joy that a director feels who has made a comedy when he or she is sitting at the back of a theater listening to the audience laugh. That sound of laughter is so sweet to a comedy director and that's exactly how a horror film feels when you hear the audience scream.

I never think in terms of target audience. I try to write what makes me laugh, so I'm the target audience. I guess I just hope there's another person in America like me.

I always tell that to young people - go to college, do theater, work with an audience. Don't try to learn how to act in front of millions and millions of people. Don't make that your first ambition, to be on a sitcom or get into the movies. Learn who you are as an actor, and the best way to do that is to do it in front of an audience.

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.

There's no reason the story of Christianity wouldn't be more prevalent in film and television considering the audience size who love and believe the stories. This is a broad audience and deserves to be on broadcast TV.

I can never remember being afraid of an audience. If the audience could do better, they'd be up here on stage and I'd be out there watching them.

I paraphrase Aristotle: If you want to be comical, write about people to whom the audience can feel superior; if you want to be tragical, write about at least one person to whom the audience is bound to feel inferior, and no fair having human problems solved by dumb luck or heavenly intervention.

It's difficult to get an audience to want to keep up with you, stay present tense. But there's never been a big lag in my career between product. I've constantly tried to pull my audience up into what I'm doing present tense, and they've been usually happy to go there with me.

It's very strange to go from being completely secluded and doing your own work for yourself, to having an audience - and having an audience that's aware of what you do and expects you to do things that they like. It can make things difficult.

You can feel whether an audience is tightened up and pulled back. Of course the opposite is an audience like we've been having in LA, which is fabulous.

This not a criticism of [Mitt] Romney; please don't anybody call him up and say I'm ripping him. I'm not. I'm simply telling you that the connection [Donald] Trump has with his supporters, slash, audience, is unique. Not everybody politician has it, and certainly not every public figure has such a connection with their audience.

I'm very proud of my team, and the way they stood behind me - and I'm very happy to show my female fans in that audience, and even my gay fans in that audience.

Somewhat predictably, I'm much more comfortable in front of an audience - and a big audience is even better - than faced with one stranger. This always seems like a bit of a failing on my part, as a human. I think that's also why I put myself situations where I'm forced to engage in other ways.

I think the New York theater audience is very savvy. Sometimes you get newbies who think they're going to be watching Smash onstage, and sometimes you have people who have been coming to theater for years. It's the combination of those people in an audience that makes for a pretty amazing night - their ability to give each other permission to react and enjoy, in a way that maybe they wouldn't if they weren't sitting next to each other.

I look at an audience kind of like meeting my in-laws for the first time. You want to be yourself, but you still want to be somebody that they like. When I go on the stage each night, I try my best to outguess my audience.

Even the favorite reviews, the audience response is the movie is too slow, deliberately slow. But for the Chinese audience, the biggest complaint is it happens too quick. I think the historical background that build into our genes is different. American people has never been occupied. The deep sadness and sentimentality, the cultural background that relates to melodrama that we relate to and grow up with, the propaganda, I didn't imagine the difference is so big. It's a very interesting cultural phenomenon.

A movie is made for an audience and a film is made for both the audience and the film-makers.

We are a band that stylistically crosses a lot of barriers and generational gaps. The heavier portion of the band, the modern music elements, the visual part of the band appeal to a younger audience. For an older audience, we have chops and great songs that are reminiscent of the things that were great about rock and roll when they enjoyed it. We're the kind of band that can cross those lines.

When I started in television, it was brand new. It was the miracle over in the corner of your room. Now the audience has seen every story line. People have heard every joke. They can predict the plot almost before a show starts. That's a hard, sophisticated audience to reach.

At the end of the day, I really go with my personal taste and with what's on the page in terms of character. But beyond that, there's a complexity about the scripts I tend to respond to. I've not lost my curiosity about how the world functions. And a script that can embody that and thematically explore bigger questions in a way which seems fresh is likely to get my attention. Frankly, I also have an eye for what will appeal to an audience, as opposed to a self-indulgent exercise that isn't taking the audience into account.

When you sit and watch the film with an audience, the focus groups and the cards and all of that is the less what you're worrying about. When you watch a film with an audience you see what is working and what's not working.

Once Steve Fuller said that there is this idea that your responsibility as an intellectual is just to speak the truth as you see it. But actually, you should be more appreciative of what needs to be said. I don't think that's ever an excuse to say something you don't believe is true - but sometimes the emphasis has to be different. Well, if I'm talking to an audience of hardline atheists, I'll be trying to unsettle them a bit more, whereas, if I'm speaking to an audience of believers, I'll be giving them more of the pros of atheism. It's about having a sensitivity to context.

The act of writing should not be accompanied by the sense of an audience, someone peering over your shoulder, but in nonfiction I think it’s almost imperative that you identify an audience so you can confirm or challenge or undermine whatever ideas or prejudices they might have about your subject.

Fast fashion communicates to a different audience, to a younger audience.

When I write a play, my whole intent at bottom is to get the audience to be in the cast, to get that audience on stage with the actors and to get them thoroughly involved in what's going on.

The difference when I'm writing a story versus writing a joke is that writing a joke is so much more about the structure and it's less about the conversation. To me, the thing that I love about stand-up is the intimacy between performer and audience.To get it even more conversational was something that really appealed to me and that I really enjoyed doing. My early experiments with it, with just telling a story from my life on stage, it was so satisfying to do. And seemingly for the audience as well. It's a different thing, and it's a different feeling and a different vibe.

With a feature film you're dealing with so much more money and you've got to be very aware of the fact that you're really working with an audience. You've got to have a relationship with the audience. Play with them and show them things you want them to see.