Quotes About Audience

The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.

I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.

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.

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.

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.

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

I played in front of every conceivable audience you could face: an all-black audience, all-white, firemen's fairs, policemen's balls, in front of supermarkets, bar mitzvahs, weddings, drive-in theaters. I'd seen it all before I ever walked into a recording studio.

Now, if King Crimson accepts responsibility for innovating its own tradition, you can't accept responsibility for the audience. And there is an enormous tangible weight of expectation, which comes from an audience attending a King Crimson concert.

Once the audience has to use themselves to cross the distance to the character, that's what's really exciting. That's when it starts to be a discussion between the art form and the audience, and that's fun stuff.

I have a children's theater background, so I grew up performing for child audiences; it's sort of my specialty. I know the child audience pretty well - or felt like I did because I performed for them so much. I studied a lot about the child audience, about theater. So it was naturally a place that I gravitated to.

Well you can see that I'm still in motion. It happens that you share the music with the audience. That is the best happiness an artist can have. I'm not alone on stage but with a group of musicians. So the more the music is successful, the more the audience feel happy about the music. It's the responsiblity of an artist to make his fans happy. That is proposition. I'm always talking about proposition.

I like anything with a live audience. I love sitcom work. I hope it comes back in fashion because I really love it. I love single-camera work, too, but in a different way than that live-audience thing, which is really exciting.

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.

Literary fiction and poetry are real marginalized right now. There's a fallacy that some of my friends sometimes fall into, the ol' "The audience is stupid. The audience only wants to go this deep. Poor us, we're marginalized because of TV, the great hypnotic blah, blah." You can sit around and have these pity parties for yourself. Of course this is bullshit. If an art form is marginalized it's because it's not speaking to people. One possible reason is that the people it's speaking to have become too stupid to appreciate it. That seems a little easy to me.

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.

Writers are egotists. All artists are. They can’t be altruists and get their work done. And writers love to whine about the Solitude of the Author’s Life, and lock themselves into cork-lined rooms or droop around in bars in order to whine better. But although most writing is done in solitude, I believe that it is done, like all the arts, for an audience. That is to say, with an audience. All the arts are performance arts, only some of them are sneakier about it than others.

.. 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

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

Getting the audience to cry for the Terminator at the end of T2, for me that was the whole purpose of making that film. If you can get the audience to feel emotion for a character that in the previous film you despised utterly and were terrified by, then that's a cinematic arc.

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 always tell that to young people - go to college, do theater, work with an audience. Don't try to learn how to act in front of millions and millions of people. Don't make that your first ambition, to be on a sitcom or get into the movies. Learn who you are as an actor, and the best way to do that is to do it in front of an audience.

For me, stand-up comedy is a conversation between me and the audience. I have to keep them listening. When I'm making jokes about cake for twenty minutes, I have to make sure my audience is interested and following where I'm going.

I've had shows where you think, "Is this going well? I can't tell," and then you say goodnight and you get this ovation. They're sorta like a theater audience. I've learned that much; that they're not always going to be doing backflips - but I'll never figure it out. Because sometimes you walk up there, and they're so excited, and then other times, it's just... But sometimes an audience is bad, and you can tell them they're bad, and that sort of breaks the ice a bit.

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.

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.

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.

I look at an audience kind of like meeting my in-laws for the first time. You want to be yourself, but you still want to be somebody that they like. When I go on the stage each night, I try my best to outguess my audience.

Different reactions while film test screening doesn't mean even the audience thinks ambiguity is a bad thing. But if you're asking them right away to start checking things off, they don't know what to do. I think at their best, it applies to when the audience knows what it is. Then, when they say, "Oh, well, I thought it was too boring in blah-blah-blah part," then you better pay attention to it. It's like going for the hamburger. Better be the good hamburger I went for.

If the audience knew what they wanted then they wouldn't be the audience, they would be the artist.

Some people act as though art that is for a mass audience is not good art, and I think this has been a very negative thing. I know that I have wanted very much to write books that are accessible to the widest audience possible.

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.

Bad reviews I've gotten never diminished the number of people in my audience; good reviews have never added to the number of people in my audience; be your own critic.

When you sit and watch the film with an audience, the focus groups and the cards and all of that is the less what you're worrying about. When you watch a film with an audience you see what is working and what's not working.

When you're writing for the screen, you have to be hyper-conscious every moment of how the audience is going to react. If you write just one scene where the audience is confused or it breaks their concentration in some way, then you've lost them, and you might never get them back.

As long as I can make that audience one thing, one unit, then I'm okay with it. But, sometimes, the bigger the audience, the weirder it gets.

The audience does not need to tune themselves to you - you need to tune your message to fit them. Skilled presenting requires you to understand their hearts and minds and create a message to resonate with what's already there. Your audience will be significantly moved if you send a message that is tuned to their needs and desires. They might even quiver with enthusiasm and act in concert to create beautiful results.

In general, I think audiences are a lot smarter than people think. So, it's not "know your audience", it's "respect your audience, and really know your content".

Movies, over time, as they do or don't find their audience, or they find a different audience, they change in your memory and in the eyes of those who see it.

Every night I try to look at the audience and treat every audience differently. It's almost like it's a single entity or a person. I always try to treat it like a conversation and allow it to happen naturally in the same way that you would engage in conversation.

Listen to advice. You don't know how many writer's conferences I've taught at where at least half the audience fights all the conventions of the field.

Years ago, I heard an interview with violinist Yehudi Menuhin. The interviewer said, "Do you still practice?" And he said, "I practice every day." He said, "If I skip a day, I can hear it. If I skip two days, the conductor can hear it. And if I skip three days, the audience can hear it." Oh, yes, you have to keep that muscle firm.

That's the thing about great artists: They find the thing that's most obvious to themselves, what's most conscious and natural, and they put it out there and the audience comes.

Once you've experienced the warmth of an audience, the achievement of getting your first laugh, and entertaining them, singing or playing piano, it just keeps it all going.

So much of my work is as Yara, not as a character. If you're attacking my work as a philanthropist or activist, you're attacking Yara. But because of "Black-ish" and this national audience we have, I get to have a larger or louder voice.

Gene [Siskel] often mentioned something François Truffaut once told him: the most beautiful sight in a movie theater is to walk down to the front, turn around, and look at the light from the screen reflected on the upturned faces of the members of the audience.

They killed me in The Sopranos. I went to David Chase, and I said, "Why me? I'm a detective! You can use me forever!" And he told me, "John, there's a rule in television: Somebody has to die that the audience likes."

It's always nice to know people are watching and having their own ideas about things and it's nice when your audience starts trying to guess what's going to happen, it means they're really interested.

If you're listening to a symphony, you're getting all the information, including the audience around you, the delay from the sides of the concert hall, the whole thing. If one of those musicians is sharply out of tune or starts to play a different piece of music than all the others in the orchestra, you immediately notice. When you analyze systems by listening, you can just listen, and you can tell whether the system is healthy or unhealthy. What I've created for you is a perfect model of how we should be listening to our stock market, rather than trying to see it graphically.