Quotes About Audience

All of Europe is tremendously integrated now; perhaps from all those years of colonization. Everybody that they've colonized has come to the mainland, so you'll have a racially diverse audience as well. You'll have many Middle Easterners, Asians, Africans, from seven to ninety sitting in the audience, and the really incredible thing is that they all know the music. I don't mean they just know a song here and there. They know the music. They are a very educated audience.

I definitely prefer the single camera better. For me it's the simple fact that I enjoy working in front of an audience, but when you're trying to create a suspension of disbelief it's much harder to do in front of audience because they become a partner. Moreso than that, they become in charge of the timing. From the simple, mechanical fact that you have to hold for their laughter. The actual timing of the scene is in the hands of the audience. As a control freak, I don't enjoy that as much as the ability to be able to control it in an edit room.

I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.

The most important person is the audience and the composer. The rest of us - and even the composer is a servant to the audience. And of course, the audience is a servant to the higher art.

I like to service the full audience of America, so I try to do things that are just real artistic, like when they don't have the most money, but it's a great piece of work. Then, there are big, fun comedies and big animated movies for kids. I want to do things for my nieces and nephews. Ultimately, we're trying to deliver something entertaining to an audience. As long as it can entertain the audience, and it makes me or my niece and nephew laugh or cry, then I think it's good.

The secret is to let the audience feel through the actress, rather than having the actress feel for the audience. When you can do that, you involved the audience almost without their knowledge or awareness.

You're playing the songs for the audience and they still think they're good songs. So I tend to get excited by that, audience reaction.

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.

There's this idea, particularly in pop music and a lot of these pop father/manager types, that you're selling the person instead of the song. You basically want to create something that the fans relate to because it's exactly like them. So there's a lot of art that's made to be in the image of the audience, but then the audience is imitating this version of themselves. It's a really weird cultural feedback loop, and it's kind of strange to watch. It's a new thing since I was a kid, really a different thing.

Without an audience, all your dreams will not come true at all, because you need an audience to write new songs and continue to do music.

Illusion starts between the ears. If the person doing illusion doesn't believe it, then the audience doesn't believe it. Seeing the picture in your head will allow the audience to see it in their heads.

In Poland, my audience is all women between 18 and 30. At U.S. conventions, you have the fantasy and science fiction crowd. At Harvard you have an entirely different audience. It's so schizophrenic.

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.

You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.

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.

Intimacy comes from being yourself on the stage and making the audience feel, without trying, that you're sittin' down there with 'em, playing, and that can happen in a big hall, if you have a good audience that want to listen

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.

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."

It wasn't just about doing tricks. It's about taking an audience to another place, a special place, so they can really suspend their disbelief. Its about amazing the audience as well as moving them.

Every 20 minutes you've got to have a bump, you've got to have a change in course, you've got to unsettle the audience. It can't be too predictable so something has to happen. I think that was something that Hitchcock did very well too. You couldn't let an audience feel too settled in.

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.

Curiosity provoked me to lay a lot of our country stuff on our predominantly black audience and some of our black audience began whispering "who is that black hillbilly at the Cosmo?"

I wasn't a trained actor, I was trained in musical comedy theater, and when you do that, the audience is completely part of the thing. It's like Elizabethan theater. You play the scene, and then you turn - the audience is part of it.

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.

How often we all have heard speakers begin by calling the attention of the audience to their lack of preparation or lack of ability. If you are not prepared, the audience will probably discover it without your assistance.

What’s this? What are the antagonists doing here – infiltrating their own audience? Well, they’re not really. It’s somebody else’s audience at the moment, and these nightly spectacles are an appreciable part of the darkside hours of life of the rocket capital. The chances for any paradox here, really, are less than you think.

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.

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.

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.

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.

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

I think about all these influences and musical cultures, then the opinion of the audience is of course important, but when I'm working on an album or a new project, I'm not all the time thinking about what the audience will think about it.

Bad reviews I've gotten never diminished the number of people in my audience; good reviews have never added to the number of people in my audience; be your own critic.

You're your first best audience, long before anybody else hears you. So don't be an easy audience. Keep asking for more.

The customer is always right' may have become a standard motto in the world of business, but the idea that 'the audience is always right,' has yet to make much of an impression on the world of presentation, even though for the duration of the presentation at least, the audience is the speaker's only customer.

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.

I'm always interested in audience interaction. Not so much aggressive audience interaction - I'm genuinely interested in how people see things.

Hence the genius of having Ken steer this ship as well. You have to invest these characters with a Shakespearian quality and not in a way that might disengage the audience but in a way that actually lets you play to an audience.

If we're going to reach a broader audience, we have to stop thinking about that audience strictly in terms of teenage boys or even teenage girls. We need to think about things that are relevant to normal humans and not just the geeks we used to be.

A movie is made for an audience and a film is made for both the audience and the film-makers. I think that The Game is a movie and I think Fight Club's a film. I think that Fight Club is more than the sum of its parts, whereas Panic Room is the sum of its parts. I didn't look at Panic Room and think, "Wow, this is gonna set the world on fire". These are footnote movies, guilty pleasure movies. Thrillers. Woman-trapped-in-a-house movies. They're not particularly important.

Every night I try to look at the audience and treat every audience differently. It's almost like it's a single entity or a person. I always try to treat it like a conversation and allow it to happen naturally in the same way that you would engage in conversation.

In fact, I think more broadly about what an audience requires, but I want an audience to be fascinated by the process of finding an answer, or finding out there isn't one.

It was the 60th anniversary of 'Face the Nation.' During his interview, President Obama said, 'Our country doesn't fear the future. We grab it.' Nothing says you grab the future like going on a 60-year-old show hosted by a 77-year-old-man to speak to a 90-year-old audience.

When talented people write badly, it's generally for one of two reasons: Either they're blinded by an idea they feel compelled to prove of they're driven by an emotion they must express. When talented people write well, it is generally for this reason: They're moved by a desire to touch the audience.

Acting is a business and a political act and a craft, but I also feel like it's a service - specifically, for a military audience.

In the South, it is different, they have a audience that is literate.