Quotes About Audience

All "bad" presentations struggle to keep the audience interested. The audience squirms wishing they could escape. The audience has given the presenter an hour of their life, so they want that hour to be useful. It's disrespectful of a presenter to not show up rehearsed and prepared with information and insights that will improve the lives of the audience in some way. Presenting will do only one of two things for you: it will either diminish your credibility or yield results. Most bad presentations hurt the presenter's credibility.

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.

Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.

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.

What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience. And since the audience is different every night, the music being played will differ too. Every space I performed in has its own magic and spirit.

. . . I felt that making her one-dimensional would be an insult to the audience, and also not as interesting. All destructive people have an inner side to them, and the more three-dimentional your characters are on screen the more compassion you can open up in an audience . . .. To me, that involves the audience more, it stimulates them and asks more of them.

In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.

I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.

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.

I need an audience way more than an audience needs me.

I test the movies a lot, and if the audience says they love the movie, we know we're on the right track. And if they tell me they hate it, I try to figure out what I've done wrong. But every time out, the audience wants me to go deeper, they want to know more about the characters, and they don't want these movies to be shallow. So they really urge me to tell them a complicated story, and then when I do so, they're thrilled

In our show, we try to think about consequences, not about tricking the audience or hiding things to fool the audience.

Part of the pleasure of giving a reading comes from the rapport between the audience and the poet. I don't want to get mystical here, but there's an energy flow that begins with the poet, and the energy goes out to the audience, and they're energized, and then they return that energy to the poet. As someone standing up there alone, facing these people, I can feel that rapport (or its absence).

I try to make the majority of my audience laugh. That's my audience. They'll laugh at the dead terrorist.

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.

Well, I hate it when authors come into a school and they say to kids, 'Write from your heart, only write what you know, and write from your heart.' I hate that because it's useless. I've written over 300 books - not one was written from my heart. Not one. They were all written for an audience, they were all written to entertain a certain audience.

The Miami Beach audience is the greatest audience in the world!

I have no interest in making music solely for a white audience. If that's what our audience is, I don't really feel responsible for that.

My hope has always been that each record could have its own audience. Of course, it's awesome to have a cumulative audience for more than one record, but I like the idea that there could be a record that an individual might like.

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.

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.

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.

What I enjoy about my work is that it's all things that I wanted to see as an audience member so there's part of me that understands what an audience wants to see in that respect.

Great communication depends on two simple skills-context, which attunes a leader to the same frequency as his or her audience, and delivery, which allows a leader to phrase messages in a language the audience can understand.

.. I get more of a dreamy thing from the audience - it's more of a thing that you go up into. You get into such a pitch sometimes that you go up into another thing. You don't forget about the audience, but you forget about all the paranoia, that thing where you're saying, 'Oh gosh, I'm on stage - what am I going to do now ?' - Then you go into this other thing, and it turns out to be like almost like a play in certain ways

The nice thing about live performance is that I've never, ever been let down. Partly I'm lucky that my audience self-selects itself. Generally they know what they're in for, and generally we all just like each other and get along. But I always find one or two or a dozen really interesting people in the audience who make the show different. And that's one of the things I really like about performing.

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.

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.

The audience too should be respected by being presented with a film as they remember it, and for those who have not seen it, as it was intended to be seen. Anything less is a degradation of the film and its audience.

Audiences of critical thinkers are my favorite kinds of audiences. There are jokes I tell in the show that don't get laughs unless I am in front of an audience of critical thinkers. Put me in front of a crowd of science teachers or astronauts! The guileless aren't our audience - it's the critical thinkers we love.

For me, the great joy is to watch an audience watching what I've made. To hear not a peep from the audience at the right moment, and then to hear the laughs and the cheers.

The theatre for me is much more satisfying as an actor because you are working in front of a living, breathing, throbbing, gasping, laughing and hopefully applauding audience. And the immediate connection you get with that audience is very satisfying.

If one talks to more than four people, it is an audience; and one cannot really think or exchange thoughts with an audience.

My problem is that the audience is more fiction-literate than ever. In Shakespeare's day, you probably expected to see a play once or twice in your life; today you experience four or five different kinds of fiction every day. So staying ahead of the audience is impossible.

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.

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.

Well, besides being entertained, I’d like to move them emotionally. I mean I really want to uplift them. I want to look down at the audience, and this is personal experiences now I’m going to tell you. It’s like you look down at the audience and see people smiling, crying, hugging each other. I want them on their way home to feel empowered like they can do anything.

But live you get the chance every night to rework it and change it and hone it. But then you get the false, weird oddness of being able to look at it and say: "Well that's weird, because last night they laughed at that and yet they didn't tonight. So what did I do? Nothing was different." You have that strange thing of being able to tell within five minutes what an audience is like. Very quickly an audience gets a personality and you start to think: "What is it about you all; you all hate it, don't you?" Then you come out and have friends in and they say: "It was brilliant!"

I think all great comedies - or at least the comedies I like - it has some of the funniest moments, but it never breaks the spell for the audience. It never pushes the audience away by spoofing itself too much or undermining the characters or making them cardboard or flimsy. Everybody is really trying to do what their characters believe in - and so nobody breaks the spell of the world, even though in other ways it's a comedy and very funny.

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.

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.

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.

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.

Theatre is very much concerned with the society, with the social situation... A theatre piece of itself, demands a confrontation with the audience. It demands that you connect with people; it demands a collective and social effort with the company and later with the audience.

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.

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.

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.

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.