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.

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.

We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.

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.

I remember quite well that 10,000 audience sang with us three on the spot, and ever since then, I always thought the Chinese audience are the greatest audience.

I was also a fan of the first one Saw movie. I knew there was a danger in doing the sequel, especially like this. They have such a core audience for the Saw movies. The fans of the movie actually demanded a sequel. They were on the internet going crazy. I don't even go on the internet. I don't even know how all this stuff happens. But they wanted it and one the one hand that's good, because you know there's an audience.

When you define the audience, the performer becomes what the audience wants. Politicians do that all the time.

My audience doesn't agree with me on everything, but I love my audience, because they're totally okay with us having a dialogue.

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).

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.

I had no fear 'cause it seemed everyone in the audience always applauded whatever I did. Course, maybe it was because I always seemed to know everyone in the audience.

in television the product is not the program; the product is the audience and the consumer of that product is the advertiser. The advertiser does not 'buy' a news program. He buys an audience.

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!

What I find interesting is this ricochet effect, that the audience perceives the work and then does something with it, throws it back to the world, and there's an ongoing interaction between work and audience, which doesn't belong to the artist anymore - from the moment you release it, it doesn't belong to anybody.

My show is an anti-show and the audience have to want to listen. I'm sitting down, there's only one of me, I don't talk much to the audience and it is very quiet. I wouldn't be able to do that kind of show if people didn't know me and my material.

When you're a performer, you have to please a large audience. And when you're in politics, you have to please a large audience, too.

I always like to think of the audience when I am directing. Because I am the audience.

I try to make all my work as honest as possible. I want the audience to feel like they're watching two people talking-having a conversation-as opposed to watching actors fake it. I want the audience to get lost in the fact that this is so good it could be real.

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.

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.

It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.

For me, the great joy is to watch an audience watching what I've made. To hear not a peep from the audience at the right moment, and then to hear the laughs and the cheers.

Just in higher education alone, more people go to college now, by enormous amounts, than went to college in the '50's and '60's. So that represents a whole new literate public that's a consumer of literature, of news, of print, of, you know, opinion. And that's a bigger audience and much more diverse audience than it used to be.

If you listen to the talk shows, which are rabid right-wing, and very interesting, an important fact about the United States, they reach a huge audience. And they're very uniform. So right wing, I don't think you can even find an analog in your, but they reach a mass audience, and their view is that the corporations are liberal. Their appeal to the population is, "the country is run by liberals, they own the corporations, they run the government, they own the media, and they don't care about us ordinary people."

It wasn't just about doing tricks. It's about taking an audience to another place, a special place, so they can really suspend their disbelief. Its about amazing the audience as well as moving them.

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 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.

When I was younger, I would go to auditions to have the opportunity to audition, which would mean another chance to get up there and try out my stuff, or try out what I learned and see how it worked with an audience, because where are you gonna get an audience?

It's interesting to have a conglomeration of people that covers the strata from A to Z... There's a certain element of the audience that's intellectually oriented, into the lyrics... then there's another element of the audience that's into a sex trip. I'm into both of them.

I never like to play for myself, and that is why I don't own a grand piano. To play for yourself is like looking at yourself in a mirror. I like to practice; that is to work at a task. But to play there must be an audience. New things happen when you play for an audience. You don't know what will occur. You make discoveries with the music, and it is always the first time. It is an exchange, a communion.

Curiosity provoked me to lay a lot of our country stuff on our predominantly black audience and some of our black audience began whispering "who is that black hillbilly at the Cosmo?"

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 can skate beautifully. While performing on ice I always try to please the audience and to win as well. Being artistic is very important to get the audience on your side. As for a competition, you can't win without strong technical content.

I like playing at public schools. I like when there's more of a diverse audience. I'll play wherever people want to hear my music, and I'll be glad and grateful for the opportunity, but I'd rather not play for a bunch of white privileged kids. I'm not meaning that in a disrespectful way; you go where people want to hear your music. So if that's where people want to hear me play, I'm glad to play for them. But I'd rather play for an audience where half of them were not into it than one where all of them were pretending to be into it, for fear of being uncultured.

One night around that time, at Hammersmith, Bob Dylan was about to go into [his 1963 classic] 'Don't Think Twice, It's Alright.He said, 'Hey, Bucky! Play mandolin on this.' I am not really a mandolin player; I could only play in certain keys. Halfway through, he stops the band, turns to the audience and points to me. He says: 'He isn't playing, he's miming.' And then: 'Should I fire him?' The whole audience yells.

The internet has created a transnational audience. If you publish something in the New York Times, it's read all over the world. Who knows how big this audience is or how long it will last.

Of course I love when people are quiet, but I also love when people are comfortable. I love when people emote. The flip side of having a totally silent audience is that they're less likely to react to you in the space, and I think that's one of the great things about performing live: you get energy from the audience, and you give energy back to them. There's interaction.

If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. [You must] reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.

There's something therapeutic about connecting with an audience - when there's something really sort of odd or silly that you think is funny, and conveying it to an audience.

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.

I get an opportunity to communicate with the audience about the movie that I've made. I get the chance to bring attention to the film that I've made. I care a lot about the movies that I make. I want them to reach an audience, and I want them to be successful. I promote nearly everything that I do, unless I've got some bad taste in my mouth.

But live you get the chance every night to rework it and change it and hone it. But then you get the false, weird oddness of being able to look at it and say: "Well that's weird, because last night they laughed at that and yet they didn't tonight. So what did I do? Nothing was different." You have that strange thing of being able to tell within five minutes what an audience is like. Very quickly an audience gets a personality and you start to think: "What is it about you all; you all hate it, don't you?" Then you come out and have friends in and they say: "It was brilliant!"

Never try to fit a target audience. Write what is true to the characters in their settings and the audience will find you.

If you tell the reader it's funny, then the audience is like an audience at a stand-up comedy club and they expect you to be funny, and if you're not, they notice. Whereas if you read a regular op-ed about Israel or the family or medicine, you're not starting with the assumption that you're supposed to laugh.

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.

If you're a content brand, you have to be in every place your audience is. Sometimes your audience is on the couch and wants to watch a 30-minute show, and sometimes they're checking their Facebook feed and want to see something that's only a minute long.

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.