Quotes About Audience

There's actually a disdain for the conversation about audience in the art world. Artist to artist, if you say, "What do you think about audience?" they would probably say, "I don't think about audience, I only think about my work," yet the audience is such an important part.

Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room.

An audience is pleasant if you have it, it is flattering and flattering is agreeable always, but if you have an audience the being an audience is their business, they are the audience you are the writer, let each attend to their own business.

I don't photograph for other people. I love an audience, mind you. Once I've got them there, then I love an audience. Not a big audience, though. I'd rather please ten people I respect than ten million I don't. But I don't play to an audience, I do it for myself.

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.

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.

The way Donald Trump talks about the problems of black Americans as a kind of separate group who are not part of his audience but he's kind of reaching over his audience or behind his audience to black Americans, saying what have you got to lose? As in you might as well join me because the Democrats haven't done anything for you. But joining me means joining this group that already supports me.

I've told Michael Jackson jokes. If you got really technical, you could say those are jokes about child molestation. You could, if you got technical. A lot of this is just selective outrage because honestly, the audience are the ones that tell us that something shouldn't be spoken. The audience lets us know. And I've never, in my almost 30 years of being a comedian, seen a comedian continue to tell a joke that the audience doesn't respond to. I've never seen it.

An audience is the perfect thing to unleash venom and hate on. It doesn't necessarily mean you hate everyone in the audience but when you've got a so-called adoring mass in front of you, it's a perfect target for that kind of disgust. Sometimes you find yourself in a position where you're venting your disgust on an audience and a lot of them keep coming back 'cos they actually like that aspect. In a way that diffuses the feeling and you don't gel the same release.

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.

There's this idea, particularly in pop music and a lot of these pop father/manager types, that you're selling the person instead of the song. You basically want to create something that the fans relate to because it's exactly like them. So there's a lot of art that's made to be in the image of the audience, but then the audience is imitating this version of themselves. It's a really weird cultural feedback loop, and it's kind of strange to watch. It's a new thing since I was a kid, really a different thing.

Without an audience, all your dreams will not come true at all, because you need an audience to write new songs and continue to do music.

I think it's important for me, for my crew and for the audience to bring something new to each show. I have friends who have done the same act, word for word for word, for 20 years. I have a problem with that. I think the audience should see something new in each show.

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

in television the product is not the program; the product is the audience and the consumer of that product is the advertiser. The advertiser does not 'buy' a news program. He buys an audience.

That's like the really fun, exciting thing about wrestling. There's no such thing as perfecting this art. You're constantly growing and you're constantly progressing and changing up you're style and gauging an audience to make sure that audience is enjoying what you're doing.

To be honest, I am not theatre-trained and though I am confident in my skill set, to do theatre requires a better-tuned set of muscles and I sometimes defer to actors who are better trained. But at the times I do want a shot, I'll go for it, especially if the piece speaks to me and the opportunity comes up. The immediate response from a theatre audience is so thrilling, affirming, and soul-feeding; to know how you've affected an audience at curtain can be ego-blowing, both good and bad.

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

At the core of what I'm doing is a belief in the audience, a belief that populism doesn't mean dumbing down theater, but rather giving the audience a voice and a role in experiencing theater.

I'm the audience first, and if you're gonna be a great performer, you need to be a great audience. So, I do music for me first, and whoever likes it likes it, and whoever doesn't -- well, it's just not for them.

Carrie was a terrific piece of work. At the end of the movie comes, when Amy Irving kneels down to put the flowers on Carrie's grave, a hand comes up through the grave and seizes her by the arm. The audience went to the roof, totally to the roof. It was just the most amazing reaction. And I thought, 'We have a monster hit on our hands. Brian De Palma has done something new. He's actually created a shock ending that shocks an audience that was ready for a horror film.' And there were several people who did it after that.

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 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 never watched my films with an everyday audience so it was really crazy to watch people clap at the end of my film - with no one there, no actors, no people from the film. It was just a spontaneous reaction, so I thought that was probably the best compliment you could get from an audience.

When I look out at the audience at some of our shows, I think we are reaching a younger audience... I see lots of people in their 30s and 40s, but I also see a lot of people in their young and middle teens, and thats definitely reassuring.

With a comedy, it's so important to see it with an audience and an audience who really wants to be there and is enthusiastic, otherwise it can be quite a traumatizing experience.

If you told me thirty years ago that people would be parodying documentary films, I never would have believed it. It wasn't clear that the films themselves even had an audience, let alone an audience for parodies of them.

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.

If you listen to the talk shows, which are rabid right-wing, and very interesting, an important fact about the United States, they reach a huge audience. And they're very uniform. So right wing, I don't think you can even find an analog in your, but they reach a mass audience, and their view is that the corporations are liberal. Their appeal to the population is, "the country is run by liberals, they own the corporations, they run the government, they own the media, and they don't care about us ordinary people."

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.

It's interesting to have a conglomeration of people that covers the strata from A to Z... There's a certain element of the audience that's intellectually oriented, into the lyrics... then there's another element of the audience that's into a sex trip. I'm into both of them.

I love watching audiences scream. I imagine it's the same joy that a director feels who has made a comedy when he or she is sitting at the back of a theater listening to the audience laugh. That sound of laughter is so sweet to a comedy director and that's exactly how a horror film feels when you hear the audience scream.

I never think in terms of target audience. I try to write what makes me laugh, so I'm the target audience. I guess I just hope there's another person in America like me.

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?

Curiosity provoked me to lay a lot of our country stuff on our predominantly black audience and some of our black audience began whispering "who is that black hillbilly at the Cosmo?"

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.

But know this: as far as a music culture goes, EDM is the one who will accept the kids on the outliers, the ones who get bullied, the ones who feel like they may not quite fit in. This community is exceptional in its ability to bond all types together, and I am not exaggerating when I say it saves lives. Our audience is intelligent and kind, discriminating only in regards to which sound they like best. Our audience is unprecedented in their drive to proactively support each other.

Half the audience gets where I'm coming from and half the audience is like, "Wait a minute. What does that mean?"

The commercial theatre may still be considered one of New York's primary tourist attractions, but . . . there is no longer an audience for serious Broadway plays. . . . Perhaps we should acknowledge that, having lost its traditional audience, Broadway can never again be a home for new plays.

The audience will teach you how to act and the audience will teach you how to write and to direct. The classroom will teach you how to obey, and obedience in the theatre will get you nowhere. It’s a soothing falsity.

You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.

There's something therapeutic about connecting with an audience - when there's something really sort of odd or silly that you think is funny, and conveying it to an audience.

The movies have been so rank the last couple of years that when I see people lining up to buy tickets I sometimes think that the movies aren't drawing an audience - they're inheriting an audience. People just want to go to a movie. They're stung repeatedly, yet their desire for a good movie - for any movie - is so strong that all over the country they keep lining up.

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.

I get an opportunity to communicate with the audience about the movie that I've made. I get the chance to bring attention to the film that I've made. I care a lot about the movies that I make. I want them to reach an audience, and I want them to be successful. I promote nearly everything that I do, unless I've got some bad taste in my mouth.

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.

You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.

One of the awful things about writing when you are a Christian is that for you the ultimate reality is the Incarnation, the present reality is the Incarnation, and nobody believes in the Incarnation; that is, nobody in your audience. My audience are the people who think God is dead. At least these are the people I am conscious of writing for.