Quotes About Audience

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.

Put in every joke that's not a dud and then let's just start pulling the ones that work the least. You're just constantly sifting until you're left with the biggest chunks of gold. The audience also tells you what some of those chunks are. You can have your own favorites, and then, once you screen it for an audience, the audience tells you what they're entertained by. I feel like that's a big part of it.

When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.

What social media has done - Facebook, Twitter - is show the audience. I don't have an audience. When I make my work, it just goes out into the ether. I have a thick skin and it just brings me down to earth, you know, to realize how out-there and far away and paltry the audience is that gets what I'm saying. It's depressing if I let it get to me. And it's the same with hanging a show, the way it's put up, like, three stories high and you can't read a single word.

The live audience, just getting an instant reaction off of an audience is the best part[of the show]. Being in the studio and working on your songs and listening to them back and doing all that - it's a lot of fun, but having that instant reaction and being able to work and vibe with an audience is the best part.

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

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.

You can't second-guess your audience. You can only do what you think is right. If you do that, your audience will appreciate you.

I always wanted to do a movie, because I love the movies. They give you a chance to have an intimacy with your audience that is different from stand up. With movies, you can bring the audience in with a close up, and emote in a different way.

What I react against in other people's work, as a filmgoer, is when I see something in a movie that I feel is supposed to make me feel emotional, but I don't believe the filmmaker shares that emotion. They just think the audience will. And I think you can feel that separation. So any time I find myself writing something that I don't really respond to, but I'm telling myself, 'Oh yes, but the audience is going to like this,' then I know I'm on the wrong track and I just throw it out.

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

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.

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.

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.

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.

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.

The audience got jaded, they want a hit, they want a big success, and so you don't want to experiment because you say, well, I'll disappoint the audience, they may not like it, I better do something that I think is more commercial.

Shall we ever live to see the following wise prohibition - the audience is forbidden to smoke and the masters are forbidden to 'smoke out' the audience by playing exchanging variations?

It is a temptation to exploit one's technique because an audience is easily reached this way, but they cannot be moved by technique alone and to move an audience is the role of dance as an art.

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.

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.

It's easier to interest a conservative audience in pushing the musical boundaries than to involve a young audience used to very noisy, assertive music in something like Schubert or Bach because the further back you go, the less bells and whistles there are.

You're not going to stay in business, the business of making movies very long because you need the resources in order to keep going. So you have to try and find a niche audience or some kind of audience that has the same likes, dislikes and aesthetic sensibilities that you have.

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.

You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.

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.

The most stressful and difficult part of steering a large movie is that you are taking on the responsibility of communicating with a very wide audience. You can't ever hide behind the notion of, 'Okay, they just don't get it,' or, 'Certain people just don't get it.' You have to be mindful of the size of your audience, and you have to communicate in a way that lets them in.

When technology is used as a gimmick it can be a terrible distraction. The trick is to harness technology in a way that empowers the audience, informs them and brings them closer to the action. CNN has always been an innovator on election night, with the Magic Wall leading the way. Tonight, for the first time, and we're going to put the Magic Wall in the hands of our audience. Along with our partners at Microsoft, we have built a tool to let our users drill down into the key races and access a great deal of data, real time, as the results are unfolding.

I think as a standup performer you have to feel the audience. So the audience kind of dictates what they get, you know?

When you do a TV show, the cumulative intimacy you develop with the audience through your characters is pretty profound. It may be the most profound storytelling there is, because the character gets to live and roll around in the audience's mind week after week.

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.

Sometimes earning awards doesn't matter as much as earning revenue or profit, or having a good response from the audience. No matter how many awards you win, if you can't earn any profit from your movie, if the audience doesn't like it, then it doesn't matter how many awards you get.

It seems like every ten years there's a book that says that poetry used to be popular, and now it's not, but we really have no way of knowing, in terms of relative size of audience and other things, exactly who readers were.

The relationship with a live audience seems to me to count for more.

In stand up every joke is thought about so meticulously, and one word can completely change how the audience responds. You're up there with no safety net; you can't shirk responsibility. It's your thoughts; it's your voice. You can't blame it on the writing, you can't blame it on the editor. You are just up there completely naked.

I think rhythm is, when you talk about rhythmic sensibility, quite perceptive in that I like to have at least one thing that is at least common or familiar to the audience.

I like making money like anybody else, and I'm paid well, but I think there is a point at which you can out-price your audience or your base.

I think the mystery of art lies in this, that artists’ relationship is essentially with their work — not with power, not with profit, not with themselves, not even with their audience.

Songs come alive every night and can be a new experience for someone. You might have someone in the audience who has never seen us before and hearing it for the first time. We are aware of that.

In L.A. Confidential, it was great to surprise the audience with Guy Pearce and Russell Crowe - two Australian actors that they didn't know at all - and let people discover them through the course of the film.

I think sometimes maybe you're going to connect with the audience more than others, but the journey is about getting all there is to get out of this group of people.

I think people who make movies and have invested a lot of money in them, get frightened that if they challenge an audience they are going to repel them. And I think the opposite it's really true. It takes confidence and courage to know that and then commit to it.

I have spoken to expert audiences occasionally, but then no audience is expert over the whole range of things I want to explore.

I will be the first to admit that getting votes and getting an audience are two different things. For example, a politician really can't be elected if he's hated by half the people. A talk show host, however, can be an overwhelming national phenomenon while being hated by half the people.

Just a whole different style, just a whole different way of going about an audience and a way about skating. And they are so brilliant in their own way, which is great, and that's what Brian was saying; is the styles are different, and it's the whole mentality.