Quotes About Audience

Even if I'm doing a show and there's five people in the audience and the sound system is terrible - I mean, it's been a while but I've certainly done those kind of shows where it's just every conceivable thing is against you - you still have music. It's still something that's real whether there's five people in the audience or a hundred thousand people in the audience. And that's always been there for me.

I don't think about the audience, I don't think about what makes them happy, because there's no way for me to know. To try to think of what makes for entertainment is a very Japanese thing. The people who think like this are old-fashioned. They think of the audience as a mass, but in fact every person in the audience is different. So entertainment for everyone doesn't exist

The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.

Doing this web show - people underestimate what it takes to do a web show successfully. They underestimate the amount of work that you have to do to get it to your audience after it's made. I think you have to work so much harder, especially if you don't have a huge budget. You have to know how to get your audience engaged, because the Internet is so distracting, and there are so many choices. People, even if they love your show, will forget to go back for episode four, because you know, people are busy.

I don't write for an audience. I write for myself. And if I imagine an audience at all, it's the characters, but I know that I would keep writing even if no one ever published me again, even if no one ever read me again.

Once the audience has to use themselves to cross the distance to the character, that's what's really exciting. That's when it starts to be a discussion between the art form and the audience, and that's fun stuff.

A playwright, especially a playwright whose work deals very directly with an audience, perhaps he should pay some attention to the nature of the audience response - not necessarily to learn anything about his craft, but as often as not merely to find out about the temper of the time, what is being tolerated, what is being permitted.

I think the biggest challenge was being aware of a certain audience that was going to see this film [lone survivor]. There's a big difference from a typical movie, journalists and critics and film goers that go see it find that, that's the general experience you have as a filmmaker. So that just kind of proves my point that there's a really different audience.

A performance is only as good as the audience you are playing to. A lot of times you feed off of the audience, and we always try to give them all we've got and sometimes you don't get a lot back, but we've never been dead whenever we've performed.

It is easy to fail when designing an interactive experience. Designers fail when they do not know the audience, integrate the threads of content and context, welcome the public properly, or make clear what the experience is and what the audience's role in it will be.

Do you need an audience to create work, or does not having an audience liberate you and make you a truer artist?

I was talking to one of the writers about our target audience, and he was insulted that I used that term. But if you're given $60 million to make a film, you'd better know who your target audience is. That's who's going to pay back the bills you run up.

When I smile at the audience, I'm not smiling because I was told that you're supposed to smile to the audience. I smile because they're all smiling at me, and it's a great feeling to see all these happy people out there, and it makes me happy to see them happy.

It's a little like casting out hundreds of fishing lines into the audience. You start getting little bites, then more, then you hook a few, then more. Then you can start reeling them in and that's a loveliest feeling - the whole audience laughing with you.

I'd rather lose the small part of the audience that is going to be insulted because a documentary shouldn't have music than the big part of the audience that kind of gives itself over to the scene.

I've spent a lot of time thinking about what the audience would want. That's my job, is to anticipate ahead of the audience.

Have fun, entertain yourself with your work, make yourself laugh and cry with your own stories, make yourself shiver in suspense along with your characters. If you can do that, then you will most likely find a large audience; but even if a large audience is never found, you'll have a happy life.

It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.

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 love my cross-sectioned, cross-cultural audience. Some of them are doing better than the average guy, but my audience has always been people who are struggling to stay in the middle class.

For me, stand-up comedy is a conversation between me and the audience. I have to keep them listening. When I'm making jokes about cake for twenty minutes, I have to make sure my audience is interested and following where I'm going.

To achieve the intimacy between performer and audience in storytelling, I feel like I have to let the audience in on my emotional state, not just, "Here's a story I'm going to tell by rote, and you're just going to listen to it, because I'm such a wonderfully entertaining fellow." It's the idea of sharing enough of myself that it's not just all about, "Look at me, look at me." There's an element to it of, "You understand what I'm talking about, right? You've been in this place that I've been in," which makes it a richer experience.

Slow motion is so visually cinematic; when you create that, you create it for your audience, you let them have the feeling of what it must be like to be there. And in a movie, you can't forget the audience.

Patrick thought we should try to put an audience in front of one of the workshops, basically in front of the class and see how the performers rose to having an audience there, because he said, "You know, it's a really interesting test, because sometimes it gets even funnier."

The internet has created a transnational audience. If you publish something in the New York Times, it's read all over the world. Who knows how big this audience is or how long it will last.

If you test Iron Man and that audience doesn't respond well, you can be damn sure that there is something wrong with the movie that you have to address. Because they're expecting a certain amount of action, right? They want a hero. There are certain things that have to be compatible with the way the audience is thinking about it. If you take some other film, like No Country for Old Men, you can end up with all kinds of crazy reactions.

If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. [You must] reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.

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.

But I always communicate with the audience. I never pretend like I'm just in my bedroom making a track. The whole point of doing a gig is, like, a feedback thing between you and the audience.

The movies have been so rank the last couple of years that when I see people lining up to buy tickets I sometimes think that the movies aren't drawing an audience - they're inheriting an audience. People just want to go to a movie. They're stung repeatedly, yet their desire for a good movie - for any movie - is so strong that all over the country they keep lining up.

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.

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 have to measure your success by the way your audience responds to your games. No matter how small that audience is, it's yours. Your game is part of the lives and the memories of those people in a way that WordPerfect or Lotus 1-2-3 or Windows can never be.

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.

The thing with playing live is, most of the audience is in their 20s and 30s. If you're older than that, you don't tend to go out to shows anymore. So it's good if you can attract a younger audience because they've got the energy to get up off the sofa and go out.

To have a platform like So You Think You Can Dance, where you're reaching this audience that's been created over the 10 years that they've been on the air. People who didn't know anything about dance and aren't going to go to the theater are learning about it, even if it's ballroom and jazz, by just turning their television ono. They're building this audience that's advanced and educated enough to introduce them to ballet.

The size of your audience doesn't matter. What's important is that your audience is listening.

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 can get an audience to identify themselves with a character, they will subconsciously feel that their own lives are in danger. People tend to pay attention in situations like that. I think fear is the easiest, and most visceral, emotion to activate in an audience.

You want the audience to get your movie, and you want the audience to like it. It's as simple as that. If they don't understand what you're trying to say, you've failed. Of course, you can't get 100 percent of the crowd to understand the movie, but you know when you've reached the people you want to reach.

I did a 'Golden Girls' once, which shot in front of an audience, and that went well. I had a good time. But I need an audience, for comedy at least.

I'm not interested in the director's commentary stuff. I think that stuff is really boring. And, if the director explains too much, it takes a certain mystery away from the interpretation that is very important for the audience to have. The audience should have their own interpretation.

Perhaps the most demanding trick in all of art is to know ways that are going to capture the attention of an audience right now, and yet to also hold an audience hundreds or thousands of years into the future in circumstances you just cannot imagine. You've got to go very deep into human nature to do that.

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.

But I think we're also just talking about the literacy of the audience. The visual literacy of the audience. They've seen so many images now, especially here in the States. There's so much to look at, to watch. So the visual storytelling literacy is harder to impress.

I started to make harder jokes before anyone else did. And the producers would get anxious. They'd say, 'That's a little bit hard-edged, isn't it?' And I'd say, 'Let's just try it and see how the audience reacts. If they don't like it, let's cut it out.' And the audience roared with laughter, so I learned you could do this harder humor and people loved it.

I've always believed that a good twist is one that, when it is presented to the audience, half of them say, 'I saw that coming.' And half of them are completely and totally shocked. Because if you don't have the half that saw it coming, then it wasn't fair: You never gave the audience a chance to guess it.

Sure there's a difference with puppet-craft - who cares? I don't care about the puppet-craft, I care about what works. Who cares about the puppet and craft? It's not about that. It's about compelling an audience, and touching an audience in some way.