Quotes About Audience

All "bad" presentations struggle to keep the audience interested. The audience squirms wishing they could escape. The audience has given the presenter an hour of their life, so they want that hour to be useful. It's disrespectful of a presenter to not show up rehearsed and prepared with information and insights that will improve the lives of the audience in some way. Presenting will do only one of two things for you: it will either diminish your credibility or yield results. Most bad presentations hurt the presenter's credibility.

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.

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!

I'm still learning about music. The best way to learn is to listen to the audience. When you listen to the audience, they will tell you what they like. I wish these big corporations, instead of telling the audience what they should have, would listen.

The way you survive in the performing arts is by having a sense of your audience, and doing things which entertain and satisfy the audience, but in a more important way, cause the audience to question many things.

Christian audience, I think, have grown very tired of movies that try to pander to them. For instance if someone goes, "Ok, we're designing what we're going to do with this movie. It's a Christian movie and they'll eat it up." And you know what? Consumers are smarter than that. They go, "The movie isn't that great and he thought that I would just be a sucker and plop my $10 down for it?" Because you're looking down at the audience. You can't pander to an audience.

My audience is a diehard audience. They are dedicated. My audience always follows me and sticks with me. They're the reason I'm still here - in the films and in stand-ups.

Having a live audience makes a world of difference to the acting. It keeps your timing sharp. When something doesn't work, the actor can sense the reaction from the audience and quickly move on.

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.

You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, I'm your mirror; if I can do this in my life, you can do it in yours.

I do a lot of talking, playing with the audience, but I don't really know what that's going to be. Somebody kind of feeds me cold. He gives me these kind of cold games that I play with the audience or quizzes that I do with them.

What I enjoy about my work is that it's all things that I wanted to see as an audience member so there's part of me that understands what an audience wants to see in that respect.

I have no problem with bands using participant financing schemes like Kickstarter and such. I've said many times that I think they're part of the new way bands and their audience interact and they can be a fantastic resource, enabling bands to do things essentially in cooperation with their audience. It's pretty amazing, actually.

I'd rather lose the small part of the audience that is going to be insulted because a documentary shouldn't have music than the big part of the audience that kind of gives itself over to the scene.

If you're up there performing a song for the first time, it's as if you're hearing it through their ears. You become acutely self-conscious of the song in performance, so that's a good thing before recording. But I like to have some surprises for the audience; I don't want the audience to know everything that's going to be on the record, because these days, with the Internet, people become avid collectors of pre-knowledge.

I am sort of proud that I think radio has become a dominant influence in shaping public opinion. Good radio paints the picture for the audience. The audience has to be actively involved. Sometimes, in television, you can get lulled into sleep watching the picture, not listening to what you're hearing.

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.

If you lead with the anger, it will turn off the audience. And what I want is the audience to engage with the material and to listen and then to ask questions. I think that 'Ruined' was very successful at doing that.

I like the saying: "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same - the same number, in the same sequence, with the same sounds - every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with.

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.

When you sell a product or service, you're making a promise to your audience. If you don't understand your audience, you'll never be able to keep that promise and you'll ultimately let them down.

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.

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.

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.

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.

Museums have these great collections and the reality is they attract a regional audience not a national audience.

In film, the camera can get an array of shots so the audience can see the emotion the character is giving off. Using close-ups on the characters face really helps get the message across. On stage, you cant do that. But the stage has that live feeling that you cant get anywhere else because the audience is right there.

Your purpose is to make your audience see what you saw, hear what you heard, feel what you felt. Relevant detail, couched in concrete, colorful language, is the best way to recreate the incident as it happened and to picture it for the audience.

It's very strange to go from being completely secluded and doing your own work for yourself, to having an audience - and having an audience that's aware of what you do and expects you to do things that they like. It can make things difficult.

Dancers work and live from the inside. They drive themselves constantly producing a glow that lights not only themselves but audience after audience.

You can feel whether an audience is tightened up and pulled back. Of course the opposite is an audience like we've been having in LA, which is fabulous.

I think one of my favorite pieces I've ever done on the show which was about Hezbollah Israel conflict in 2006 and it was very pointed. It was a beautifully crafted piece of satire and it's a weird thing to say but it had a joke in there about 9/11 and I remember the audience sort of laughing but also kind of not knowing how to respond to that joke and it was just so - and I remember the tension after we did this joke on the air and there was this palpable gasp in the audience, but they were also laughing. And I thought oh, wow, that is something that is not being said in the Zeitgeist.

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

You listen to the audience. The audience is wrong individually and always right collectively. If they don't laugh, it isn't funny. If they cough, it isn't interesting. If they walk out, you are in trouble.

Also expressionistic filmmaking - making the audience feel like they were inside the characters' heads. And so we create all these different types of techniques to put the audience there.

From what I see, nowadays punk and anarchy are still connected with "fast loud music by smelly drunk chaos-people" and, yes, I know I'm over-generalizing here. So when the occasional venue still describes us The ex as "anarchopunk" that's a real bummer, since it attracts an audience that expects a kind of music - which we don't play - and it keeps away another audience that actually might have liked it when they would have come. That's a pity, for both them and us.

Once Steve Fuller said that there is this idea that your responsibility as an intellectual is just to speak the truth as you see it. But actually, you should be more appreciative of what needs to be said. I don't think that's ever an excuse to say something you don't believe is true - but sometimes the emphasis has to be different. Well, if I'm talking to an audience of hardline atheists, I'll be trying to unsettle them a bit more, whereas, if I'm speaking to an audience of believers, I'll be giving them more of the pros of atheism. It's about having a sensitivity to context.

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.

I've set aside a nice chunk of my advertising revenue each month for giveaways, like a KitchenAid mixer. I like buying them for the audience, because without the audience I wouldn't have the blog or the revenue in the first place.

We also knew [ me and Ewan McGregor] that, on a practical level, if there was going to be that much sex in the film [Young Adam] - which there clearly had to be because sex is the meat and potatoes of the thing - it had to be varied for the audience, because it's important to keep the audience living in it.

I'm working for myself; what else have I got to work for? How can you work for an audience? What do you imagine an audience would want? I have got nobody to excite except myself, so I am always surprised if anyone likes my work sometimes. I suppose I'm very lucky, of course, to be able to earn my living by something that really absorbs me to try to do, if that is what you call luck.

They're getting more and more experience on what to expect, and the Hellboy audience is such a faithful and fanatic audience as I am, and you have to really be very open about what you do

Sure there's a difference with puppet-craft - who cares? I don't care about the puppet-craft, I care about what works. Who cares about the puppet and craft? It's not about that. It's about compelling an audience, and touching an audience in some way.

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

You never know what an audience is going to think about something. The ones that the audience doesn't get, I tend to let them go. I don't like to dwell on them too much.

At any given time, on our band Drive-by Truckers' shows there might be someone who's eight years old or 80 years old in the audience. Some nights there are a lot of girls in the audience, some nights not. It's so unpredictable, but I like that. A lot of Republicans come see us. I've got many friends and family that are Republicans, so our following definitely cuts across the political lines and all of that. Which puts us in the unique position of not just preaching to the converted. I respect and value that.

Performers should realize they not only have to prepare themselves for concert purposes as far as memorizing their programs goes, but for the business of just walking out before the people …. It is important to play before an imaginary audience too. Before I play in public I very often play a program three or four times as though I were seated before a actual audience.