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.

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'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.

As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.

There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to, first of all, the environment in which it's being staged; then the audience, the nature of the audience, the quality of the audience.

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.

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!

Science and technology were often used by [the magician of old], even before they came into the marketplace on a mass basis. For example, prior to the moving picture going into theatre, magicians were using the technique of images in motion as illusions in their shows. At that time the process was so new, an audience perceived it as magic. Also in the early stages of holograms magicians would use these images to baffle and mystify their fans. Hence, you always need to stay one step ahead of the technology game to "WOW" the audience.

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.

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 think my primary audience is in some sense an adult audience, because I think that will then have a knock-on effect for children.

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!

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.

As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.

Because even at the age of fifteen, I used to go see all the Broadway shows and feel that they were sentimental, that they were pandering to the audience and trying to manipulate the audience. I had no use for practically any of the shows that were hits.

The audience makes the decision of what kind of actor they want to watch. I always have said in the last 20 years, the real boss is the audience.

I've spent a lot of time thinking about what the audience would want. That's my job, is to anticipate ahead of the audience.

I want to tell stories which require something of an audience, by way of thought, argument, emotion, because I'm more often in an audience than I am a maker of films, and that's the kind of movie I want to see.

Any show that's bringing in a young audience is doing a good thing, because that's the only way that theater will continue to grow. All the other audience members are going to be dead soon!

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

When a performer goes out on a stage, they may feel the audience is judging every aspect of them and their life. In fact, all that poor audience is doing is waiting to be entertained a little.

An aspiring comedian must be determined to get to his or her true feelings on a subject and convey that to the audience. Figure out what you're feeling or interested in because the goal is to get the audience interested in what you're interested in. Good stand up comedy is drawing people into your head.

I think ultimately if you have a very high expectation of your audience and you know exactly what it is you're trying to express through the medium of film, there will always be an audience for you.

When you have a chance to be an artist with an audience in your lifetime, you have to say thanks to your audience. That's a great thing. That's the best thing that can happen to an artist.

Audiences - they like colour, you know. I can go out there wearing a red suit, man, and they'll say I'm out of sight ... I think they should be educated; you should always drop something on an audience ... When you get in front of an audience, you should try to give 'em something. After all, they're there looking at you like this. You can't go out and give 'em nothing.

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.

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.

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.

When you're true to yourself - not the audience that reads about me in the newspaper or sees a clip someplace, but the audience that actually comes and watches, just like Oprah - they get to know you and they sense something genuine.

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.

Even the favorite reviews, the audience response is the movie is too slow, deliberately slow. But for the Chinese audience, the biggest complaint is it happens too quick. I think the historical background that build into our genes is different. American people has never been occupied. The deep sadness and sentimentality, the cultural background that relates to melodrama that we relate to and grow up with, the propaganda, I didn't imagine the difference is so big. It's a very interesting cultural phenomenon.

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

Some singers want the audience to love them. I love the audience.

A movie is made for an audience and a film is made for both the audience and the film-makers.

The feelings of being in the audience and being on the podium are very far apart. When you're onstage and something goes wrong, you can do something about it. In the audience, you just have to sit there, and if it's a disastrous performance, I'm the one that gets blamed.

I am a real ham. I love an audience. I work better with an audience. I am dead, in fact, without one.

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.

I'm not interested in the director's commentary stuff. I think that stuff is really boring. And, if the director explains too much, it takes a certain mystery away from the interpretation that is very important for the audience to have. The audience should have their own interpretation.

Being on Oprah? You realize that there are a couple of types of audience members. There are like the cult people in the audience who are just crying before she gets on. And then there are the people who are playing it cool. I definitely was somewhere in the middle.

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 don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.

If we're going to reach a broader audience, we have to stop thinking about that audience strictly in terms of teenage boys or even teenage girls. We need to think about things that are relevant to normal humans and not just the geeks we used to be.

It seems like every ten years there's a book that says that poetry used to be popular, and now it's not, but we really have no way of knowing, in terms of relative size of audience and other things, exactly who readers were.

When I went to do "Carson" that night, they wanted us to do two songs, but we were a brand new band. "Conga" hadn't even hit the top 10 yet. They go, "Do you think you could do something that people know, because we want you to do a second song, but not two originals, because we don't want to lose the audience, just in case."

The only difference with wrestling is we're like a live performance. So we're feeding off the audience and if they do't like something, they can let us know immediately.

Anyone can do shock value. Develop enough tension and cue the music right, then have something jump out: It's almost impossible not to jump in your seat. But that doesn't leave any effect on you when you leave the movie theater. To me, the best horror is psychological horror. The Exorcist, The Shining, The Omen, things that kind of stick with you long after you've seen them. It's what you don't see. It's letting the audience think a little bit, not spelling it out for them. Giving them credit for using their own imaginations rather than sticking in gags and tricks.