Quotes About Audience

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.

In theatre, the main objective is to make the art happy, not the audience! If you have to choose between the audience and the art, always choose the second! You must know that the audience will always pull you down; resist it and fly at the heights like an eagle!

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.

Donald Trump in Philadelphia, and he's delivering a very substantive speech on military preparedness, the status of the current military. He detailed the deterioration of the U.S. military in the past eight years and explained how he's going to rebuild it and why we need to, and it's a very tough audience. It's an expressly military audience, and they are of course listening for any sign that he's not really genuine here. I think, knocking this out of the park as far as that audience is concerned.

I think about the audience in the sense that I serve as my own audience. I have to please myself the way, if I saw the movie in a theater, I would be pleased. Do I think about catering to an audience? No.

The only way to resonate at a level that persuades is to know who you are addressing. If it's true that the Audience is the hero, you need to spend time thinking about them. Really getting to know them to the point it feels like they are a friend. May times we picture our audience as a large clump of strangers. Instead, you need to picture them as individuals standing in line to have a personal conversation with you. It's easy to persuade a friend, you need to think about your audience until you know them as a friend.

You're playing the songs for the audience and they still think they're good songs. So I tend to get excited by that, audience reaction.

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.

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!

Part of the pleasure of giving a reading comes from the rapport between the audience and the poet. I don't want to get mystical here, but there's an energy flow that begins with the poet, and the energy goes out to the audience, and they're energized, and then they return that energy to the poet. As someone standing up there alone, facing these people, I can feel that rapport (or its absence).

We were in front of a live audience and I would be acting with the man who was playing my lover, and we used those words, and the audience would titter and laugh, and make me uncomfortable doing the scenes. ... I wanted to sort of stop and yell at them, "What's so funny? What's the matter with you people? Grow up!" It made me very self-conscious at times.

I feel the horror audience is a great audience, and I would ideally make a movie that would give them as much energy as they're willing to give to the picture.

In my book tours I get to meet an audience every night. And I see that there are mostly young people, and there are a lot of more men than before, but always young, I don't get older men. As I'm getting older, my audience gets younger!

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.

I dislike The Exorcist, and I found it a warning sign of the dangers in a furious cinematic talent putting the audience through it (a Hitchcock phrase) without purpose, or without the nagging moral anxiety that activated Hitch. You see, I don't think William Friedkin believes in the Devil, or cares about him. I think he found exorcism a pretext for a gross-out and he calculated there was an audience for it, or a crowd ready to be challenged. Maybe I'm too much of an atheist to stand religion being so thrashed.

The roles for women on television have historically always been stronger and that, I would say, is still true. The question is commerce. That's probably where there's a block for a lot of people, the commerce behind it. Where is the audience? And it's so clear to me that there is a huge audience for female-driven projects. People still seem to think it's a fluke when it happens. That's one of the hurdles that's still left to be jumped over.

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.

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.

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.

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.

Intimacy comes from being yourself on the stage and making the audience feel, without trying, that you're sittin' down there with 'em, playing, and that can happen in a big hall, if you have a good audience that want to listen

Whatever field you can do that, that's where you want to do it, and I think that's why people like David Fincher and Ridley Scott are interested in it, too, because when you sit down on a meeting in HBO and they're like, "More, more." You're just like, "Oh yeah, I love this." Sometimes it's a little harder in film. I think also it's a great audience, take advantage of it. It's a great audience.

We have an incredible audience. I'm as proud of how Fairport relates to its audience as I am of any music we have produced. I think we're a real people's band. Massive popular success has never bothered Fairport. We've never been put in the position of being celebrities. A Fairport concert is like a meeting of friends. There's no big, security wall around us. It's kind of how music should be.

You've got to capture an audience. You don't go out there and just sing, or just play. If you can't capture an audience, you might as well not be out there.

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.

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

Let no preacher in a little church think that he has no audience for his message. An unseen audience of multitudes compass him about! Let no Christian who sins in the dark think that he is unobserved. He is compassed about with so great a cloud of witnesses! Assuredly in Heaven they know what goes on on earth.

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.

I seek a diverse spectrum of roles. If I just was in a large-budget feature for a younger audience, then I want to find a smaller, more character-driven piece that might be for a more mature audience. Or if I'm playing a goofier character, then maybe I want to go play a serious, psychopathic character. But at the same time, it's usually a case-by-case basis where I'm judging the merit of a role by the script I'm given, and it usually has less to do with the larger framework and more to do with how the part personally appeals to me in that moment.

Alan: "I had terrible stage fright." Sin: "I'm not familiar with the concept of 'stage fright.'" A: "It's pretty awful. You end up having to picture the entire audience in their underwear. Phyllis was in that audience, you know." S: "Why, Alan, I had no idea your tastes ran that way." A: "Phyllis is a very nice lady. And I do not consider her so much aged as matured, like a fine wine. But I still think you owe me an archery lesson.

There's no reason the story of Christianity wouldn't be more prevalent in film and television considering the audience size who love and believe the stories. This is a broad audience and deserves to be on broadcast TV.

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

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

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.

Finding the fine line between satisfying a daytime TV audience and an afternoon radio audience. That involved editing down my delivery to under an hour. I've been blessed to have great producers and a great staff to achieve that. I have a small team but they're very efficient.

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.

When you are able to make a living with your job as an artist, that means you have an audience and you have to thank this audience.

A professional entertainer who allows himself to become known as a singer of folk songs is bound to have trouble with his conscience provided, of course, that he possesses one. As a performing artist, he will pride himself on timing and other techniques designed to keep the audience in his control ... his respect for genuine folklore reminds him that these changes, and these techniques, may give the audience a false picture of folk music.

The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.

I think the New York theater audience is very savvy. Sometimes you get newbies who think they're going to be watching Smash onstage, and sometimes you have people who have been coming to theater for years. It's the combination of those people in an audience that makes for a pretty amazing night - their ability to give each other permission to react and enjoy, in a way that maybe they wouldn't if they weren't sitting next to each other.

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.

A cult classic is one that has been fully embraced by an alternative audience, not the popular audience.

Playing villains is very liberating because unlike the leading man, nothing is expected of you. Leading men have to look good, they have to behave in a certain way, they have to fulfill an audience's expectations. But as a bad guy, you have free license to take the audience by surprise. And that's what audiences want - they want unpredictability from their villains. The villain's job is to subvert it.

I think about all these influences and musical cultures, then the opinion of the audience is of course important, but when I'm working on an album or a new project, I'm not all the time thinking about what the audience will think about it.

The difference between a theatre with and without an audience is enormous. There is a palpable, critical energy created by the presence of the audience.

At the end of the day, I really go with my personal taste and with what's on the page in terms of character. But beyond that, there's a complexity about the scripts I tend to respond to. I've not lost my curiosity about how the world functions. And a script that can embody that and thematically explore bigger questions in a way which seems fresh is likely to get my attention. Frankly, I also have an eye for what will appeal to an audience, as opposed to a self-indulgent exercise that isn't taking the audience into account.

I did a 'Golden Girls' once, which shot in front of an audience, and that went well. I had a good time. But I need an audience, for comedy at least.

Fast fashion communicates to a different audience, to a younger audience.