Quotes About Audience

The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say sophisticated.

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.

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.

The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.

To change man, the audience by which he judges himself must be changed. A man is defined by his audience: by the people, institutions, authors, magazines, movie heroes, philosophers by whom he pictures himself being cheered and booed. Major psychological disturbances, 'identity crises', are caused when an individual begins to change the audience for whom he plays: from parents to peers; from peers to the works of Albert Camus; from the Bible to Hugh Hefner.

Neanderthal man listened to stories, if one may judge by the shape of his skull. The primitive audience was an audience of shock-heads, gaping around the camp-fire, fatigued with contending against the mammoth or wooly-rhinoceros, and only kept awake by suspense. What would happen next? The novelist droned on, and as soon as the audience guessed what happened next, they either fell asleep or killed him.

As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.

The way you survive in the performing arts is by having a sense of your audience, and doing things which entertain and satisfy the audience, but in a more important way, cause the audience to question many things.

I feel that tennis is an art form that is capable of moving the players and the audience - at least a knowledgeable audience-in almost sensual ways. When I'm performing at my absolute best, I think that some of the euphoria I feel must be transmitted to the audience.

Having a live audience makes a world of difference to the acting. It keeps your timing sharp. When something doesn't work, the actor can sense the reaction from the audience and quickly move on.

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.

Science and technology were often used by [the magician of old], even before they came into the marketplace on a mass basis. For example, prior to the moving picture going into theatre, magicians were using the technique of images in motion as illusions in their shows. At that time the process was so new, an audience perceived it as magic. Also in the early stages of holograms magicians would use these images to baffle and mystify their fans. Hence, you always need to stay one step ahead of the technology game to "WOW" the audience.

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.

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.

Pilots are so hard because you have to introduce all these characters, you have to hook an audience, and an audience has such a smaller attention span than maybe they used to have.

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

I do a lot of talking, playing with the audience, but I don't really know what that's going to be. Somebody kind of feeds me cold. He gives me these kind of cold games that I play with the audience or quizzes that I do with them.

As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.

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.

I have been able to get a small audience. It's not the huge audience, but it's enough to make it possible to play. I appreciate that.

I think one of the things that is important, for me, though a lot of people would disagree with me, is that you be founded in theater so that you understand what an audience is, what kind of an animal it is and how to play with it. How to have fun with it, how to sympathize with it, all the things that an audience is. I don't think you're going to find that out unless you do theater.

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.

I'm always trying to bring unusual content to a different audience - a non-art-world audience.

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."

You have to realize that people who bother to log on to anything and talk about a television show is a very specific fraction of the audience. It's not the general audience, so you can't get too crazy listening to just that. That's not representative, but they are the most dedicated.

Alan: "I had terrible stage fright." Sin: "I'm not familiar with the concept of 'stage fright.'" A: "It's pretty awful. You end up having to picture the entire audience in their underwear. Phyllis was in that audience, you know." S: "Why, Alan, I had no idea your tastes ran that way." A: "Phyllis is a very nice lady. And I do not consider her so much aged as matured, like a fine wine. But I still think you owe me an archery lesson.

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.

Today's comedian has a cross to bear that he built himself. A comedian of the older generation did an act and he told the audience, This is my act. Today's comic is not doing an act. The audience assumes he's telling the truth. What is truth today may be a damn lie next week.

I can skate beautifully. While performing on ice I always try to please the audience and to win as well. Being artistic is very important to get the audience on your side. As for a competition, you can't win without strong technical content.

Well, I think it's important to keep things secretive because what's happened so much is the press competes with each other to put as much information out there as they can and sometimes it can be very damaging to the films to have the stories leaked or certain plot details. I think it's important to have something remain secretive for the audience and something special for the audience so there aren't spoilers all over the internet.

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.

Also expressionistic filmmaking - making the audience feel like they were inside the characters' heads. And so we create all these different types of techniques to put the audience there.

From what I see, nowadays punk and anarchy are still connected with "fast loud music by smelly drunk chaos-people" and, yes, I know I'm over-generalizing here. So when the occasional venue still describes us The ex as "anarchopunk" that's a real bummer, since it attracts an audience that expects a kind of music - which we don't play - and it keeps away another audience that actually might have liked it when they would have come. That's a pity, for both them and us.

Id just love to have an audience and its the most fun in the world to get a new script every week and have the audience come in, and work with those actors.

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've set aside a nice chunk of my advertising revenue each month for giveaways, like a KitchenAid mixer. I like buying them for the audience, because without the audience I wouldn't have the blog or the revenue in the first place.

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.

I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.

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.

To me, a performance is a military operation; it requires so much planning, and then ripping up the plan the minute you get there because you have no idea what the audience is feeling. I'm very much an entertainer, and sensitive to the audience's perception of me. I often have to do unexpected things, even for myself.

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.

The thing is that honestly we haven't had an audience. And we have a chance to have an audience now. Which is great because I think we've sort of evolved as a band to the point where I think we might actually be interesting to go see.

For many years, I did my best to report on the issues of the day in as objective a manner as possible. When I had my own strong opinions, as I often did, I tried not to communicate them to my audience.

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.

I do a film if it interests me, has a connect with the audience and some entertainment value. The rest doesn't matter.

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

The best audience is one that is intelligent, well-educated, and a little drunk.