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.

The audience is the most revered member of the theater. Without an audience, there is no theater. Everything done is ultimately for the enjoyment of the audience. They are our guests, fellow players, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.

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.

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 don't think about the audience, I don't think about what makes them happy, because there's no way for me to know. To try to think of what makes for entertainment is a very Japanese thing. The people who think like this are old-fashioned. They think of the audience as a mass, but in fact every person in the audience is different. So entertainment for everyone doesn't exist

Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.

Every lecture should state one main point and repeat it over and over, like a theme with variations. An audience is like a herd of cows, moving slowly in the direction they are being driven towards. If we make one point, we have a good chance that the audience will take the right direction; if we make several points, then the cows will scatter all over the field. The audience will lose interest and everyone will go back to the thoughts they interrupted in order to come to our lecture.

I've always thought of the audience. I just want to entertain the audience. That's what it's about: what's good for the movie, what's best for the movie, what's best for the 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.

For me, a great show is when there's a great rapport with the band and the audience, and we're all really into it. The first trick is to bring the audience into the band, break the ice, have a life, and be one, so you can enjoy the next hour and a half together.

In Poland, my audience is all women between 18 and 30. At U.S. conventions, you have the fantasy and science fiction crowd. At Harvard you have an entirely different audience. It's so schizophrenic.

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.

The truth is that the heroism of your childhood entertainments was not true valor. It was theatre. The grand gesture, the moment of choice, the mortal danger, the external foe, the climactic battle whose outcome resolves all--all designed to appear heroic, to excite and gratify and audience. Gentlemen, welcome to the world of reality--there is no audience. No one to applaud, to admire. No one to see you. Do you understand?Here is the truth--actual heroism receives no ovation, entertains no one. No one queues up to see it. No one is interested.

A performance is only as good as the audience you are playing to. A lot of times you feed off of the audience, and we always try to give them all we've got and sometimes you don't get a lot back, but we've never been dead whenever we've performed.

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.

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.

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 impossible to foretell the future with any degree of accuracy, that it is impossible to rehearse life. A fault in the scenery, a face in the audience, an interruption of the audience on to the stage, and all our carefully planned gesture mean nothing, or mean too much.

There are some long silences in Scandinavian and some Japanese films, when the audience knows action is taking place, but the audience hears no action.

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.

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

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.

To achieve the intimacy between performer and audience in storytelling, I feel like I have to let the audience in on my emotional state, not just, "Here's a story I'm going to tell by rote, and you're just going to listen to it, because I'm such a wonderfully entertaining fellow." It's the idea of sharing enough of myself that it's not just all about, "Look at me, look at me." There's an element to it of, "You understand what I'm talking about, right? You've been in this place that I've been in," which makes it a richer experience.

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.

Long experience has taught me that the crux of my fortunes is whether I can radiate good will toward my audience. There is only one way to do it and that is to feel it. You can fool the eyes and minds of the audience, but you cannot fool their hearts.

One night around that time, at Hammersmith, Bob Dylan was about to go into [his 1963 classic] 'Don't Think Twice, It's Alright.He said, 'Hey, Bucky! Play mandolin on this.' I am not really a mandolin player; I could only play in certain keys. Halfway through, he stops the band, turns to the audience and points to me. He says: 'He isn't playing, he's miming.' And then: 'Should I fire him?' The whole audience yells.

I wasn't a trained actor, I was trained in musical comedy theater, and when you do that, the audience is completely part of the thing. It's like Elizabethan theater. You play the scene, and then you turn - the audience is part of it.

An artist should write for himself & not for an audience. If the audience likes it, great. If not, they can keep away.

I don't even know why, but my entire career is contemporary films. Entire career! There's no period movies - there's one - but there's no period movies, no special effects movies. I just do character studies and so, some of them are gonna bump into each other, but I love the challenge, with a good script. I love the challenge of playing not a very pleasant or attractive character that seduces an audience or wins an audience over by the end.

This not a criticism of [Mitt] Romney; please don't anybody call him up and say I'm ripping him. I'm not. I'm simply telling you that the connection [Donald] Trump has with his supporters, slash, audience, is unique. Not everybody politician has it, and certainly not every public figure has such a connection with their audience.

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

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.

With theatre, you can interpret the most complex play on stage for it have meaning to an audience because you're dealing in images, you're dealing in action, you can use different idioms to interpret and clarify something which is obscured in the reading and of course there are different kinds of play, there are mythological plays, there are what I call the dramatic sketches, direct political theatre which is virtually everybody, but I find that you can use the stage as a social vehicle, you know, which any kind of audience.

I love my situation as a spectator. The actors are only a little bit ahead of the audience. The audience discovers the episode when it's screened, but we actors only discover the episode when we get the script, two weeks ahead of shooting. Until then, we know nothing of the evolution of our characters.

You can look at what's happened to America in the last years and say a lot of people were asleep. A lot of people were not staying awake and watching what was going on and facing the pain of that and dealing with it.I don't care if the rest of the audience doesn't think along those lines at all, because the audience is a huge spectrum of people, from people who are introspective to people who just want to be scared and have fun, and all the points in between.

We had Chinese artists that would put in elements for the Chinese audience like the calligraphy actually means something so the audience when they read it they'll understand. So there were definitely little things we were able to do that specifically leveraged the artists' talents.

The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.

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.

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

Whether you are a writer, or an actor, or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.

An interesting play cannot in the nature of things mean anything but a play in which problems of conduct and character of personalimportance to the audience are raised and suggestively discussed.

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

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.

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

If you find that a point cannot be made without narration, it is virtually certain that the point is unimportant to the story (which is to say, to the audience).

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

I like the boundaryless potential you get when you make work for a context that is open to interpretation. Thinking about an art context is too claustrophobic, though. I always hope that at least half my audience is not directly related to the art world. I use art as a balancing act. It's a good way of avoiding everyday chores and social obligations.

An audience can really lift you right up off the stage.