Quotes About Audience

In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that 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.

You're playing the songs for the audience and they still think they're good songs. So I tend to get excited by that, audience reaction.

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 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.

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 love theatre. It's far more satisfying than film. Sometimes there's a collective sigh from the audience, or it's so quiet you can hear a pin drop. I couldn't believe how easy acting was when there's an audience; after a few previews I almost couldn't do it without one.

I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.

Non-violence is a piece of theatre. You need an audience. What can you do when you have no audience?

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.

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.

The potential audience seems to be dwindling in the states. I was kind of embarrassed for the band because of the size of 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.

When I look out at the audience at some of our shows, I think we are reaching a younger audience... I see lots of people in their 30s and 40s, but I also see a lot of people in their young and middle teens, and thats definitely reassuring.

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 love my cross-sectioned, cross-cultural audience. Some of them are doing better than the average guy, but my audience has always been people who are struggling to stay in the middle class.

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 love readings and my readers, but the din of voices of the audience gives me stage fright, and the din of voices inside whisper that I am a fraud, and that the jig is up. Surely someone will rise up from the audience and say out loud that not only am I not funny and helpful, but I'm annoying, and a phony.

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.

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.

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.

We are a nation that has always gone in for the loud laugh, the wow, the yak, the belly laugh, and the dozen other labels for the roll- em-in-the-aisles gagerissimo. This is the kind of laugh that delights actors, directors, and producers, but dismays writers of comedy because it is the laugh that often dies in the lobby. The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.

I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.

I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.

As an actor, early on, you learn that the audience is never wrong. And if you think they are wrong, you need to find a different way to make a living. Collectively the audience is smarter than you will ever, ever be.

When you sell a product or service, you're making a promise to your audience. If you don't understand your audience, you'll never be able to keep that promise and you'll ultimately let them down.

We must first realize that dancing is an absolutely independent art, not merely a secondary accompanying one. I believe that it is one of the great arts. . . . The important thing in ballet is the movement itself. A ballet may contain a story, but the visual spectacle . . . is the essential element. The choreographer and the dancer must remember that they reach the audience through the eye. It's the illusion created which convinces the audience, much as it is with the work of a magician.

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.

Being in front of the audience, letting my audience see me in person - it is real intimate, you get to make them laugh and cry, they get to feel you. And then afterward, we go out and do a meet-and-greet session with the fans. It was just a wonderful experience. I really, really enjoyed it.

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.

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.

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.

The movies have been so rank the last couple of years that when I see people lining up to buy tickets I sometimes think that the movies aren't drawing an audience - they're inheriting an audience. People just want to go to a movie. They're stung repeatedly, yet their desire for a good movie - for any movie - is so strong that all over the country they keep lining up.

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.

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.

You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.

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

What looks absolutely fabulous in rehearsal can fall flat in front of an audience. The audience dictates what you do or don't change.

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.

You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.

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.

Theatre is very much concerned with the society, with the social situation... A theatre piece of itself, demands a confrontation with the audience. It demands that you connect with people; it demands a collective and social effort with the company and later with the audience.

With theatre, you can interpret the most complex play on stage for it have meaning to an audience because you're dealing in images, you're dealing in action, you can use different idioms to interpret and clarify something which is obscured in the reading and of course there are different kinds of play, there are mythological plays, there are what I call the dramatic sketches, direct political theatre which is virtually everybody, but I find that you can use the stage as a social vehicle, you know, which any kind of audience.

Id just love to have an audience and its the most fun in the world to get a new script every week and have the audience come in, and work with those actors.

I did a 'Golden Girls' once, which shot in front of an audience, and that went well. I had a good time. But I need an audience, for comedy at least.

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.

They're getting more and more experience on what to expect, and the Hellboy audience is such a faithful and fanatic audience as I am, and you have to really be very open about what you do

Now, practically all reviewers have academic aspirations. The people from the universities are used to a captive audience, but the literary journalist has to please his audience.