Quotes About Audience

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 definitely prefer the single camera better. For me it's the simple fact that I enjoy working in front of an audience, but when you're trying to create a suspension of disbelief it's much harder to do in front of audience because they become a partner. Moreso than that, they become in charge of the timing. From the simple, mechanical fact that you have to hold for their laughter. The actual timing of the scene is in the hands of the audience. As a control freak, I don't enjoy that as much as the ability to be able to control it in an edit room.

The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.

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.

To change man, the audience by which he judges himself must be changed. A man is defined by his audience: by the people, institutions, authors, magazines, movie heroes, philosophers by whom he pictures himself being cheered and booed. Major psychological disturbances, 'identity crises', are caused when an individual begins to change the audience for whom he plays: from parents to peers; from peers to the works of Albert Camus; from the Bible to Hugh Hefner.

The way Donald Trump talks about the problems of black Americans as a kind of separate group who are not part of his audience but he's kind of reaching over his audience or behind his audience to black Americans, saying what have you got to lose? As in you might as well join me because the Democrats haven't done anything for you. But joining me means joining this group that already supports me.

I believe that DVD is that which gives some hope to retaining some content in movies that will appeal to an older audience or the more sophisticated audience or the audience that doesn't need or desire to see a movie on a Friday night.

The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.

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.

I think about the audience in the sense that I serve as my own audience. I have to please myself the way, if I saw the movie in a theater, I would be pleased. Do I think about catering to an audience? No.

The live audience, just getting an instant reaction off of an audience is the best part[of the show]. Being in the studio and working on your songs and listening to them back and doing all that - it's a lot of fun, but having that instant reaction and being able to work and vibe with an audience is the best part.

We don't make movies for critics. I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a paying audience.

Once the audience has to use themselves to cross the distance to the character, that's what's really exciting. That's when it starts to be a discussion between the art form and the audience, and that's fun stuff.

Don't let a single comic moment pass you by; then help the audience get the laughs. Give them permission to laugh by holding for laughter and by letting them know early on what they're in for. In the first few moments, the audience is gathering information, looking at the scenery and costumes. Create a comic moment as soon as you can.

I feel the horror audience is a great audience, and I would ideally make a movie that would give them as much energy as they're willing to give to the picture.

When I write songs I write for myself...I'm writing it as a form of expression, and hoping to find an audience, an audience that responds to music that is honest and lyrical and tells stories.

I think the biggest challenge was being aware of a certain audience that was going to see this film [lone survivor]. There's a big difference from a typical movie, journalists and critics and film goers that go see it find that, that's the general experience you have as a filmmaker. So that just kind of proves my point that there's a really different audience.

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.

I found doing that kind of comedy without an audience is just... for me, it's almost impossible. You need the audience to do their half of the work.

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.

Never use the word 'audience.' The very idea of a public, unless the poet is writing for money, seems wrong to me. Poets don't have an 'audience'. They're talking to a single person all the time.

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.

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.

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.

If you told me thirty years ago that people would be parodying documentary films, I never would have believed it. It wasn't clear that the films themselves even had an audience, let alone an audience for parodies of them.

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!

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.

I never think in terms of target audience. I try to write what makes me laugh, so I'm the target audience. I guess I just hope there's another person in America like me.

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.

Smart brands never try to appeal to more than their audience group. Assuming you're audience is one of the segments that watches, it's your chance to galvanize this specific group, which is larger here than anywhere else, with a bold new idea that can re-magnetize the human/brand connection for a new year.

Any time you can create something that gets to a large audience is fantastic. And television still gets you to a huge 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.

When you are able to make a living with your job as an artist, that means you have an audience and you have to thank this audience.

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.

You're not going to stay in business, the business of making movies very long because you need the resources in order to keep going. So you have to try and find a niche audience or some kind of audience that has the same likes, dislikes and aesthetic sensibilities that you have.

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.

When I started in television, it was brand new. It was the miracle over in the corner of your room. Now the audience has seen every story line. People have heard every joke. They can predict the plot almost before a show starts. That's a hard, sophisticated audience to reach.

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.

If you can get an audience to identify themselves with a character, they will subconsciously feel that their own lives are in danger. People tend to pay attention in situations like that. I think fear is the easiest, and most visceral, emotion to activate in an audience.

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.

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

There is a lot of anxiety in India about writers selling out to foreign audiences, but I’m neither flattering the Indian audience nor the American audience. I’m uneasily somewhere in the middle.

To me, a performance is a military operation; it requires so much planning, and then ripping up the plan the minute you get there because you have no idea what the audience is feeling. I'm very much an entertainer, and sensitive to the audience's perception of me. I often have to do unexpected things, even for myself.

Even in the tragedies, Shakespeare always put in parts for the comic actors because his audience was mixed. He puts in people who talk like aristocrats. He puts in idiots and fools. He puts in certain middle-range characters. And when you go to the Globe, you realize how that all works. The people who paid more sat in seats around the edge. Everybody else paid a penny. They put it into a tin box - that's why we call it the "box office." They stood in the pit, but they were very close, so when Hamlet was doing his soliloquy, it was addressed to you, the audience - right there.

I almost never try to make the audience comfortable. I wouldn't want that if I were in the audience.

To speak truth to power is not a particularly honorable vocation. One should seek out an audience that matters - and furthermore (another important qualification), it should not be seen as an audience, but as a community of common concern in which one hopes to participate constructively.