Quotes About Audience

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.

We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.

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.

As things grew for me I felt like I was losing myself and wanted to stay true to myself as well. I didn't want to lose any connection I had with the audience. I felt small on a big stage and I felt like I was peaking generically to an audience.

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.

Animation can be a full spectrum of different storytelling techniques and different genres. I think it's sad that there is only one audience that the studios are aiming for and that's the kid audience. It's really tragic that they don't' make films for older people.

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.

The ideal audience the poet imagines consists of the beautiful who go to bed with him, the powerful who invite him to dinner and tell him secrets of state, and his fellow-poets. The actual audience he gets consists of myopic schoolteachers, pimply young men who eat in cafeterias, and his fellow-poets. This means, in fact, he writes for his fellow-poets.

You feel the communion of the collective consciousness in that moment when you're on stage doing something and the audience is absolutely with you. And the audience becomes a collective entity as well. They come in from separate places and socio-economic backgrounds, and places across the world and days that they've had, and then they come together and they become one collective thing, and experience something in a collective way.

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.

Never use the word 'audience.' The very idea of a public, unless the poet is writing for money, seems wrong to me. Poets don't have an 'audience'. They're talking to a single person all the time.

Don’t try to visualize the great mass audience. There is no such audience—every reader is a different person.

I like a movie that the audience actively has to participate in, and not just casually observe. Whatever my part in it, just as an audience member, I find that exciting.

I try to make all my work as honest as possible. I want the audience to feel like they're watching two people talking-having a conversation-as opposed to watching actors fake it. I want the audience to get lost in the fact that this is so good it could be real.

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.

I know there are people who don't like their audience or like the experience of being recognized or celebrated, but my audience has been very good - they don't bother me and when they do contact me it's usually on the nicest possible terms.

Whatever field you can do that, that's where you want to do it, and I think that's why people like David Fincher and Ridley Scott are interested in it, too, because when you sit down on a meeting in HBO and they're like, "More, more." You're just like, "Oh yeah, I love this." Sometimes it's a little harder in film. I think also it's a great audience, take advantage of it. It's a great audience.

Just in higher education alone, more people go to college now, by enormous amounts, than went to college in the '50's and '60's. So that represents a whole new literate public that's a consumer of literature, of news, of print, of, you know, opinion. And that's a bigger audience and much more diverse audience than it used to be.

The best way to make friends with an audience is to make them laugh. You don't get people to laugh unless they surrender - surrender their defenses, their hostilities. And once you make an audience laugh, they're with you. And they listen to you if you've got something to say. I have a theory that if you can make them laugh, they're your friends.

I love readings and my readers, but the din of voices of the audience gives me stage fright, and the din of voices inside whisper that I am a fraud, and that the jig is up. Surely someone will rise up from the audience and say out loud that not only am I not funny and helpful, but I'm annoying, and a phony.

An aspiring comedian must be determined to get to his or her true feelings on a subject and convey that to the audience. Figure out what you're feeling or interested in because the goal is to get the audience interested in what you're interested in. Good stand up comedy is drawing people into your head.

What I prefer is an audience who listen. And are intelligent. Which I try and assume every audience is. And that if something goes wrong, it's generally my fault and not theirs.

I advise treating the studio audience like a nightclub audience because that's the reason you're doing television - to get them to come see you in a nightclub.

When I was younger, I would go to auditions to have the opportunity to audition, which would mean another chance to get up there and try out my stuff, or try out what I learned and see how it worked with an audience, because where are you gonna get an audience?

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 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.

We are a nation that has always gone in for the loud laugh, the wow, the yak, the belly laugh, and the dozen other labels for the roll- em-in-the-aisles gagerissimo. This is the kind of laugh that delights actors, directors, and producers, but dismays writers of comedy because it is the laugh that often dies in the lobby. The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.

When you have a chance to be an artist with an audience in your lifetime, you have to say thanks to your audience. That's a great thing. That's the best thing that can happen to an artist.

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.

In film, the camera can get an array of shots so the audience can see the emotion the character is giving off. Using close-ups on the characters face really helps get the message across. On stage, you cant do that. But the stage has that live feeling that you cant get anywhere else because the audience is right there.

Finding the fine line between satisfying a daytime TV audience and an afternoon radio audience. That involved editing down my delivery to under an hour. I've been blessed to have great producers and a great staff to achieve that. I have a small team but they're very efficient.

I've always said about 50% of what happens at a concert has to do with the audience. If you play for a dead audience you're gonna stink. If we play for a great crowd we're much better. You want 'em to make noise. It's kinda like sex, if they don't make noise, you ain't doin' it right.

I'm not conditioned to be an entertainer. An entertainer pleases others while an artist only has to please himself. The problem with that is artists are misunderstood by all. I'm not interested in the clarinet but in music. we speak our emotions into music. An artist should write for himself and not for an audience. If the audience likes it, great. If not, they can keep away. My situation is the same. Let them concentrate on my music and not on me. I like the music. I love it and live it, in fact. But for me, the business part of music just plain stinks.

I get an opportunity to communicate with the audience about the movie that I've made. I get the chance to bring attention to the film that I've made. I care a lot about the movies that I make. I want them to reach an audience, and I want them to be successful. I promote nearly everything that I do, unless I've got some bad taste in my mouth.

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 feelings of being in the audience and being on the podium are very far apart. When you're onstage and something goes wrong, you can do something about it. In the audience, you just have to sit there, and if it's a disastrous performance, I'm the one that gets blamed.

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 inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated on the stage and shown to the audience. This life is rich and revealing for the audience as well as for the actor himself.

I am a real ham. I love an audience. I work better with an audience. I am dead, in fact, without one.

I'm conflicted with theater in the city because you want to reach a diverse audience, and that audience doesn't typically go to the theater.

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.

In working out our callings, we are to perform for one audience, the audience of One.

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.

It's such a wonderful feeling to watch a child discover that reading is a marvelous adventure rather than a chore. I know that many writers for children say they do not write specifically with a child audience in mind ... This isn't true for me. I am very aware of my audience. Sometimes I can almost see them out there reacting as I write. Sometimes I think, 'Oh, you're going to like this part.

When you're doing stand-up, you achieve an intimacy with the audience you can't get on TV. There's not a better feeling in the entire world then when you look out and see the audience is identifying with you.

Sometimes you'll play, like, a large venue - maybe an outdoor venue or something - where it's so big that you can see all of the disinterested people. You see the audience, but then behind the audience you see people eating ice cream, going for a walk.

In concert, I often try to feel the audience and feel their way of hearing. If I feel that there is no contact between the audience and the music, I try to look stronger within myself, hoping that this will lead to a better contact.