Quotes About Audience

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

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!

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.

It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.

The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.

Even if I'm doing a show and there's five people in the audience and the sound system is terrible - I mean, it's been a while but I've certainly done those kind of shows where it's just every conceivable thing is against you - you still have music. It's still something that's real whether there's five people in the audience or a hundred thousand people in the audience. And that's always been there for me.

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've told Michael Jackson jokes. If you got really technical, you could say those are jokes about child molestation. You could, if you got technical. A lot of this is just selective outrage because honestly, the audience are the ones that tell us that something shouldn't be spoken. The audience lets us know. And I've never, in my almost 30 years of being a comedian, seen a comedian continue to tell a joke that the audience doesn't respond to. I've never seen it.

The most important person is the audience and the composer. The rest of us - and even the composer is a servant to the audience. And of course, the audience is a servant to the higher art.

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 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.

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.

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.

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.

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.

I played in front of every conceivable audience you could face: an all-black audience, all-white, firemen's fairs, policemen's balls, in front of supermarkets, bar mitzvahs, weddings, drive-in theaters. I'd seen it all before I ever walked into a recording studio.

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.

Without an audience, all your dreams will not come true at all, because you need an audience to write new songs and continue to do music.

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!

I love dipping into worlds at a fast and furious pace. A little glimpse allows the audience to put together the rest of that world in their brain. I love sketches that require the audience to piece together the comedic engine themselves. Give them all the information but not tell them what the scene is about so they can have that eureka moment of, "Oh my God, he's only used to the way urban students pronounce their names. That's what's going on here.".

I shall never forget Juliek. How could I forget this concert given before an audience of the dead and dying? Even today, when I hear that particular piece by Beethoven, my eyes close and out of the darkness emerges the pale and melancholy face of my Polish comrade bidding farewell to an audience of dying men.

It is easy to fail when designing an interactive experience. Designers fail when they do not know the audience, integrate the threads of content and context, welcome the public properly, or make clear what the experience is and what the audience's role in it will be.

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.

Great communication depends on two simple skills-context, which attunes a leader to the same frequency as his or her audience, and delivery, which allows a leader to phrase messages in a language the audience can understand.

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

At any given time, 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.

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.

The audience too should be respected by being presented with a film as they remember it, and for those who have not seen it, as it was intended to be seen. Anything less is a degradation of the film and its audience.

I genuinely have never been in an audience where most people want that person to fail. I've never been in an audience like that, and I've never seen it as a performer. Only in my dreams, in which case they are always throwing tomatoes and going, "This is the most boring thing I've ever seen."

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.

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.

But there's an enormous difference between an audience that's watching you because they can't wait to see what comes next and an audience that's watching you because they're waiting for you to fail.

There was but one question he left unasked, and it vibrated between his lines: if gross miscalculations of a person's value could occur on a baseball field, before a live audience of thirty thousand, and a television audience of millions more, what did that say about the measurement of performance in other lines of work? If professional baseball players could be over- or under valued, who couldn't?

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.

An artist should write for himself & not for an audience. If the audience likes it, great. If not, they can keep away.

But I always communicate with the audience. I never pretend like I'm just in my bedroom making a track. The whole point of doing a gig is, like, a feedback thing between you and the audience.

I'm very proud of my team, and the way they stood behind me - and I'm very happy to show my female fans in that audience, and even my gay fans in that audience.

An artist is waiting for the audience to understand the work. A craftsman is working to understand the audience.

The audience wants to be attracted not by the critics, but by a great story. You must deliver to the audience emotion - and when I say emotion, I mean suspense, drama, love.

The Sophists had this idea: Forget this idea of what's true or not—what you want to do is rhetoric; you want to be able to persuade the audience and have the audience think you're smart and cool. And Socrates and Plato, basically their whole idea is, "Bullshit. There is such a thing as truth, and it's not all just how to say what you say so that you get a good job or get laid, or whatever it is people think they want.

I think about all these influences and musical cultures, then the opinion of the audience is of course important, but when I'm working on an album or a new project, I'm not all the time thinking about what the audience will think about it.

At the end of the day, I really go with my personal taste and with what's on the page in terms of character. But beyond that, there's a complexity about the scripts I tend to respond to. I've not lost my curiosity about how the world functions. And a script that can embody that and thematically explore bigger questions in a way which seems fresh is likely to get my attention. Frankly, I also have an eye for what will appeal to an audience, as opposed to a self-indulgent exercise that isn't taking the audience into account.

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 love my situation as a spectator. The actors are only a little bit ahead of the audience. The audience discovers the episode when it's screened, but we actors only discover the episode when we get the script, two weeks ahead of shooting. Until then, we know nothing of the evolution of our characters.

When you're writing for the screen, you have to be hyper-conscious every moment of how the audience is going to react. If you write just one scene where the audience is confused or it breaks their concentration in some way, then you've lost them, and you might never get them back.

The difference when I'm writing a story versus writing a joke is that writing a joke is so much more about the structure and it's less about the conversation. To me, the thing that I love about stand-up is the intimacy between performer and audience.To get it even more conversational was something that really appealed to me and that I really enjoyed doing. My early experiments with it, with just telling a story from my life on stage, it was so satisfying to do. And seemingly for the audience as well. It's a different thing, and it's a different feeling and a different vibe.

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?