Quotes About Audience

It is not the job of artists to give the audience what the audience want. If the audience knew what they needed, then they wouldn’t be the audience. They would be the artist. It is the job of artists to give the audience what they need

Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.

Audience interest is directly proportionate to the presenter's preparation. You better spend time and energy on any presentations where the stakes are high. If you are trying to close a large sale or speak at a conference to an audience of potential clients, you better be ON your game. An audience can tell how much energy you spent on your presentation, which is a reflection of how much you valued their time. If they gave you an hour of their time, you need to make it worth it to them by treating their time as a valuable asset by making the content valuable to them.

There is always an audience for different individuals, but critics sometimes stop the audience finding the show and the show finding the audience.

. . . I felt that making her one-dimensional would be an insult to the audience, and also not as interesting. All destructive people have an inner side to them, and the more three-dimentional your characters are on screen the more compassion you can open up in an audience . . .. To me, that involves the audience more, it stimulates them and asks more of them.

I have a lot of friends who were stand-ups, and they just stopped after a while, because they didn't like that battle, or they just couldn't do it. And then they would get on a sitcom and get visible and get back into it, because the audience was just way easier on them. But they lost those crucial years of learning to turn any audience into your audience.

Undeniably, the audience for improvisation, good or bad, active or passive, sympathetic or hostile, has a power that no other audience has. It can affect the creation of that which is being witnessed. And perhaps because of that possibility the audience for improvisation has a degree of intimacy with the music that is not achieved in any other situation.

I like to service the full audience of America, so I try to do things that are just real artistic, like when they don't have the most money, but it's a great piece of work. Then, there are big, fun comedies and big animated movies for kids. I want to do things for my nieces and nephews. Ultimately, we're trying to deliver something entertaining to an audience. As long as it can entertain the audience, and it makes me or my niece and nephew laugh or cry, then I think it's good.

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.

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.

A performance is only as good as the audience you are playing to. A lot of times you feed off of the audience, and we always try to give them all we've got and sometimes you don't get a lot back, but we've never been dead whenever we've performed.

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.

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.

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've always assumed from the beginning that I had relatively few contemporaries among my readership. Not that I was consciously writing for a younger audience but that what I was doing interested a younger audience, or at least threatened them less.

If you individualize an audience, it helps up the stakes of your responsibility to that audience.

It is impossible to foretell the future with any degree of accuracy, that it is impossible to rehearse life. A fault in the scenery, a face in the audience, an interruption of the audience on to the stage, and all our carefully planned gesture mean nothing, or mean too much.

Pilots are so hard because you have to introduce all these characters, you have to hook an audience, and an audience has such a smaller attention span than maybe they used to have.

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.

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.

I like a movie that the audience actively has to participate in, and not just casually observe. Whatever my part in it, just as an audience member, I find that exciting.

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.

When I was a kid in Eugene, Oregon, there was this fantastic guitar player who went out on the tables, chairs, out in the audience and played. So I started taking my guitar in the audience. I tripped, fell backwards and ripped my pants.

I never, ever update Mark Twain. I don't modernize it. I let the audience update the material. When I go out on stage, I'm trying to make the audience believe they're looking at this guy who died 104 years ago and listening to him and saying to themselves, "Jesus, he could be talking about today." And that's the point.

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.

I know there are people who don't like their audience or like the experience of being recognized or celebrated, but my audience has been very good - they don't bother me and when they do contact me it's usually on the nicest possible terms.

Have fun, entertain yourself with your work, make yourself laugh and cry with your own stories, make yourself shiver in suspense along with your characters. If you can do that, then you will most likely find a large audience; but even if a large audience is never found, you'll have a happy life.

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.

We believed - and I personally still believe - that the so called Voice of God narration, ubiquitous in documentaries destined for PBS, is insulting to the audience. If you believe in the intelligence of your audience, you don't need to tell them what to think and how to process the material they're seeing.

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.

Slow motion is so visually cinematic; when you create that, you create it for your audience, you let them have the feeling of what it must be like to be there. And in a movie, you can't forget the audience.

But the audience is right. They're always, always right. You hear directors complain that the advertising was lousy, the distribution is no good, the date was wrong to open the film. I don't believe that. The audience is never wrong. Never.

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.

A playwright must be his own audience. A novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute.

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.

Does having a wife and kids change your act? Yes, but only in the best way. It gives you weight and authority. It also makes you closer to the audience because the audience is married and has kids.

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.

I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.

I do like to keep abreast of what the hardcore vocal members of the comics-reading audience are talking about on Internet message boards, but there are so few of them, as a percentage of the buying audience, that I can't allow their opinions to dictate story direction.

Regarding pushing the form, ideas interest me more than form. I think you can write a very subversive play in a three-act structure. The content makes the play. I feel the form is simply dressing, because ultimately, you want to communicate to the audience, and sometimes the best way to do that is to present a provocative idea in a format that is comfortable for them to receive. Then the idea will come through directly, right in solar plexus. After all, I want to make a living as an artist, and that means speaking to the audience in a form they can understand.

I think, when all bands start, when you're on your first album you have the benefit of hoovering up people who genuinely come across the music and really like it, but also those sort of 'floating voters' who just like pop music when they're young. And I think that when you get to your fourth album, those floating voters have dissipated and you're left with a core audience, and at that point you've really got to get your act together and move on to something else to keep afloat, or you'll just shrink with your core audience.

You can look at what's happened to America in the last years and say a lot of people were asleep. A lot of people were not staying awake and watching what was going on and facing the pain of that and dealing with it.I don't care if the rest of the audience doesn't think along those lines at all, because the audience is a huge spectrum of people, from people who are introspective to people who just want to be scared and have fun, and all the points in between.

Performance is always oriented towards a spectator, towards an imagined audience and I was thinking who is their imagined audience?

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".

A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.

I think that one of the things about music is it's supposed to be spontaneous, it's supposed to be real human beings bouncing off of each other whether its from the stage or to the audience, or jamming with friends.

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.

I think sometimes maybe you're going to connect with the audience more than others, but the journey is about getting all there is to get out of this group of people.