Quotes About Audience

The one thing that I love about the live audience is the energy level. Like, from the minute of cast introductions, it's just constant energy being traded back and forth. When you do something funny, the audience laughs; when you're being serious, you can, like, feel the tension going through the audience.

I make comedies and I always try... I don't try but I allow to have at least 5% of the jokes or have some jokes that I know will be understood by only about 5% of the audience. It's that guy in the corner who gets it and laughs. But he has to have his jokes too. That's part of my audience. Part of my audience is the people who will only get certain things.

Making a show is also economics. Because the irony is, or the shame of it is, you cannot create a show instantaneously. It needs to be massaged. You need to see who is relating to who. How is it working with the audience? You need to give it a chance for the audience to find it, because there are so many outlets. And the audience doesn't know where to go.

I don't like to be my own audience, I find that being my own audience, being in the audience, makes me self-conscious, basically. So I tune in sometimes, with the sound off, to check it out and I back up to it. In the future I will look at it when some time has passed.

It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.

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.

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.

If your audience is young, it'd be youth culture, if your audience is older, it'd be older people, if it were senior citizens, it'd be senior citizen issues. So you try and hit the target audience.

My audience is made up of two groups of people. The first group includes people whose roots are deep in the Christian faith, but for whom the traditional symbols, as traditionally understood, no longer make sense. The other audience is the audience that has left. I call them the Church Alumni Association, citizens of the secular city. They are a bit nostalgic about this faith of their childhood, but they aren't really interested in trotting it out or becoming involved with it again as it is presently organized.

I tend not to think about audience when I'm writing. Many people who read "The Giver" now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.

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.

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.

The choreographer cannot deliberately make a ballet to appeal to an audience, he has to start from personal inspirations. He has to trust the ballet, to let it stand on its own strengths or fall on its weaknesses. If it reaches the audience, then he is lucky that round!

Don't let a single comic moment pass you by; then help the audience get the laughs. Give them permission to laugh by holding for laughter and by letting them know early on what they're in for. In the first few moments, the audience is gathering information, looking at the scenery and costumes. Create a comic moment as soon as you can.

I like what a third man brings. A kind of oblique vision, seeing something in the material that you didn't know was there. As a comedian, I'm always listening to the audience. And in movies, sometimes the only audience you have is the producer and the director. I like having someone else's opinion, especially if you're on the same wavelength.

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 had no fear 'cause it seemed everyone in the audience always applauded whatever I did. Course, maybe it was because I always seemed to know everyone in the audience.

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.

I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.

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.

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.

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

When I was a kid in Eugene, Oregon, there was this fantastic guitar player who went out on the tables, chairs, out in the audience and played. So I started taking my guitar in the audience. I tripped, fell backwards and ripped my pants.

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.

You start as an audience member and create a world you're interested in, and then you move into the telling of those stories, bringing what has interested you as an audience member.

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.

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

When you play a smaller, more intimate venue, you can have real conversations with your audience, take risks, and stay current. You can also change the set list, on how the day feels or how the audience reacts. When you do arena shows, every arena looks and feels the same. You can't see who is in the room.

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.

I thought, well, if we're inviting an audience, let's do it right. So I put in a proper studio audience at our studios in Los Angeles and it was just a little showcase and it was just for fun.

Your purpose is to make your audience see what you saw, hear what you heard, feel what you felt. Relevant detail, couched in concrete, colorful language, is the best way to recreate the incident as it happened and to picture it for the audience.

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.

I'm more than a little suspicious of humor in poems, because I think it can at times be a way of getting a reaction out of a reader, or an audience, that is something closer to relief: i.e., thank god this isn't poetry, but stand-up comedy. Some poets are really funny, but more often poets are fourth rate stand up comics at best. But they benefit from the sheer relief of the audience.

Fame is directly related to the kind of support you have from an audience and the love and support I have from audience is so immense and so huge, that the percentage of negativity is so small compared to that that it would be very easy for it to lose itself.

An artist is waiting for the audience to understand the work. A craftsman is working to understand the audience.

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.

When an audience is laughing, that's opening their souls somehow, and when you have an audience with an open soul, it's much better to hit them with a knife.

I make a great part of my living by traveling and speaking. To me, it's like being a politician, you meet your audience, you constantly see the people and they're getting younger for me which is really, really encouraging. I get older and my audience gets younger. It couldn't be better.

In theater, it's just you and the audience. It's less of a popularity contest. It's just you and the audience, and they're laughing or they're not laughing, that's the only gauge you really have. But with TV and movies and everything, it's like "Well, did you get a meeting at so-and-so?" and "So-and-so's really hot right now," which is all the stuff I'm probably still not used to.

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.

The difference when I'm writing a story versus writing a joke is that writing a joke is so much more about the structure and it's less about the conversation. To me, the thing that I love about stand-up is the intimacy between performer and audience.To get it even more conversational was something that really appealed to me and that I really enjoyed doing. My early experiments with it, with just telling a story from my life on stage, it was so satisfying to do. And seemingly for the audience as well. It's a different thing, and it's a different feeling and a different vibe.

I love the theater because I love the live audience and when we went three cameras we have a live audience in the study so we had someone to play to and react to. That laughter.

There is a lot of anxiety in India about writers selling out to foreign audiences, but I’m neither flattering the Indian audience nor the American audience. I’m uneasily somewhere in the middle.

Unfortunately, because the theater is always a poor relation when it comes to making the nut, it's not easy to get the audience in to see a play, unless you have a name that is recognizable, that the audience wants to see and is prepared to pay the $125 to see.

When you introduce a character and show him for the first time, don't show him fully lit. Don't show him one hundred percent to the audience. Show maybe fifty percent or sixty percent so the audience can fill in the dark spots.

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.

Performers should realize they not only have to prepare themselves for concert purposes as far as memorizing their programs goes, but for the business of just walking out before the people …. It is important to play before an imaginary audience too. Before I play in public I very often play a program three or four times as though I were seated before a actual audience.