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.

I love storytelling and I love just relating directly to an audience. That's why we do theatre, it's because we love contact with the audience. We love the fact that the audience will change us. The way the audience responds makes us change our performance.

Don't make your audience play Jeopardy. Giving your answer before asking the question puts your audience at a disadvantage. It will also reveal your biases. Make it clear what question you are trying to answer first. Then allow your audience to engage in answering the question too.

I don't like to be my own audience, I find that being my own audience, being in the audience, makes me self-conscious, basically. So I tune in sometimes, with the sound off, to check it out and I back up to it. In the future I will look at it when some time has passed.

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.

What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience. And since the audience is different every night, the music being played will differ too. Every space I performed in has its own magic and spirit.

When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.

I've always thought of the audience. I just want to entertain the audience. That's what it's about: what's good for the movie, what's best for the movie, what's best for the audience.

Television masturbates its audience even though the audience is not really watching. It masturbates orifices the audience doesn't have. It sticks holes in the viewer and masturbates in those holes. Then it finally gets into the brain and masturbates there, too.

An audience is the perfect thing to unleash venom and hate on. It doesn't necessarily mean you hate everyone in the audience but when you've got a so-called adoring mass in front of you, it's a perfect target for that kind of disgust. Sometimes you find yourself in a position where you're venting your disgust on an audience and a lot of them keep coming back 'cos they actually like that aspect. In a way that diffuses the feeling and you don't gel the same release.

A lot of baseball players think baseball is cool, and the audience that we have think it's cool. It might not hit every audience, but I don't think there's a single sport that's going to hit every audience.

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).

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.

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.

To be honest, I am not theatre-trained and though I am confident in my skill set, to do theatre requires a better-tuned set of muscles and I sometimes defer to actors who are better trained. But at the times I do want a shot, I'll go for it, especially if the piece speaks to me and the opportunity comes up. The immediate response from a theatre audience is so thrilling, affirming, and soul-feeding; to know how you've affected an audience at curtain can be ego-blowing, both good and bad.

Some artists see a gig as an audience worshipping them. I think it is about having a great time together. I have a part as the singer. An audience has a part. Playing a gig doesn't make me high on myself.

...You believe that the kind of story you want to tell might be best received by the science fiction and fantasy audience. I hope you're right, because in many ways this is the best audience in the world to write for. They're open-minded and intelligent. They want to think as well as feel, understand as well as dream. Above all, they want to be led into places that no one has ever visited before. It's a privilege to tell stories to these readers, and an honour when they applaud the tale you tell.

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.

In the first act, you get the audience's attention - once you have it, they will repay you in the second. Play through the laughs if you have to. It will only make the audience believe there are so many of them that they missed a few.

Clear writing is universal. People talk about writing down to an audience or writing up to an audience; I think that's nonsense. If you write in a way that is clear, transparent, and elegant, it will reach everyone.

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.

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."

I don't believe in elitism. I don't think the audience is this dumb person lower than me. I am the audience.

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.

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.

For me, stand-up comedy is a conversation between me and the audience. I have to keep them listening. When I'm making jokes about cake for twenty minutes, I have to make sure my audience is interested and following where I'm going.

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.

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.

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 can never remember being afraid of an audience. If the audience could do better, they'd be up here on stage and I'd be out there watching them.

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

You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.

What’s this? What are the antagonists doing here – infiltrating their own audience? Well, they’re not really. It’s somebody else’s audience at the moment, and these nightly spectacles are an appreciable part of the darkside hours of life of the rocket capital. The chances for any paradox here, really, are less than you think.

In anything really, it's finding the reality. You can't be 'real,' but you can create a reality. And that created reality is what the audience believes in. And that's essential. Because if the audience doesn't believe that, they're never going to trust you. And if they don't trust you, you can't lead them up the mountain.

Playing in front of an audience was just such a turn-on for me, and you have 200 people in the audience and it's like doing live theater. And filming something that goes to millions of people several weeks later, it's an interesting dynamic.

I look at an audience kind of like meeting my in-laws for the first time. You want to be yourself, but you still want to be somebody that they like. When I go on the stage each night, I try my best to outguess my audience.

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!"

I think all great comedies - or at least the comedies I like - it has some of the funniest moments, but it never breaks the spell for the audience. It never pushes the audience away by spoofing itself too much or undermining the characters or making them cardboard or flimsy. Everybody is really trying to do what their characters believe in - and so nobody breaks the spell of the world, even though in other ways it's a comedy and very funny.

It's easier to interest a conservative audience in pushing the musical boundaries than to involve a young audience used to very noisy, assertive music in something like Schubert or Bach because the further back you go, the less bells and whistles there are.

To have a platform like So You Think You Can Dance, where you're reaching this audience that's been created over the 10 years that they've been on the air. People who didn't know anything about dance and aren't going to go to the theater are learning about it, even if it's ballroom and jazz, by just turning their television ono. They're building this audience that's advanced and educated enough to introduce them to ballet.

We are a band that stylistically crosses a lot of barriers and generational gaps. The heavier portion of the band, the modern music elements, the visual part of the band appeal to a younger audience. For an older audience, we have chops and great songs that are reminiscent of the things that were great about rock and roll when they enjoyed it. We're the kind of band that can cross those lines.

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.

I make a great part of my living by traveling and speaking. To me, it's like being a politician, you meet your audience, you constantly see the people and they're getting younger for me which is really, really encouraging. I get older and my audience gets younger. It couldn't be better.

When you sit and watch the film with an audience, the focus groups and the cards and all of that is the less what you're worrying about. When you watch a film with an audience you see what is working and what's not working.

You want the audience to get your movie, and you want the audience to like it. It's as simple as that. If they don't understand what you're trying to say, you've failed. Of course, you can't get 100 percent of the crowd to understand the movie, but you know when you've reached the people you want to reach.