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.

Radio helps DJs break into a whole different audience. Radio has so much power. And that's my mission: to not only break into the EDM audience, but to break also into the mainstream audience.

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.

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.

I like to service the full audience of America, so I try to do things that are just real artistic, like when they don't have the most money, but it's a great piece of work. Then, there are big, fun comedies and big animated movies for kids. I want to do things for my nieces and nephews. Ultimately, we're trying to deliver something entertaining to an audience. As long as it can entertain the audience, and it makes me or my niece and nephew laugh or cry, then I think it's good.

My audience is made up of two groups of people. The first group includes people whose roots are deep in the Christian faith, but for whom the traditional symbols, as traditionally understood, no longer make sense. The other audience is the audience that has left. I call them the Church Alumni Association, citizens of the secular city. They are a bit nostalgic about this faith of their childhood, but they aren't really interested in trotting it out or becoming involved with it again as it is presently organized.

When the theater is gothic it matches the sensibility of the show. It's also very intimate. The audience is very close to the performers. The show is scary and the scary stuff always works best with an intimacy with the audience. And the show is erotic, and I think erotic always works best when it's close to the audience, as well.

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.

I don't write for an audience. I write for myself. And if I imagine an audience at all, it's the characters, but I know that I would keep writing even if no one ever published me again, even if no one ever read me again.

There's this idea, particularly in pop music and a lot of these pop father/manager types, that you're selling the person instead of the song. You basically want to create something that the fans relate to because it's exactly like them. So there's a lot of art that's made to be in the image of the audience, but then the audience is imitating this version of themselves. It's a really weird cultural feedback loop, and it's kind of strange to watch. It's a new thing since I was a kid, really a different thing.

You never know how things work and what exactly is going to grab an audience. Sometimes even the best material and the best collection of people interpreting that material just for some reason doesn't fly with people. There are a lot of TV shows or movies that maybe aren't as good as others that do work when it comes to finding an audience. It's a mystery, that whole thing. If somebody figured it out, this would be quite a great industry.

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.

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).

You can't second-guess your audience. You can only do what you think is right. If you do that, your audience will appreciate you.

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've always assumed from the beginning that I had relatively few contemporaries among my readership. Not that I was consciously writing for a younger audience but that what I was doing interested a younger audience, or at least threatened them less.

You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.

Pilots are so hard because you have to introduce all these characters, you have to hook an audience, and an audience has such a smaller attention span than maybe they used to have.

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.

As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.

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.

When I was a kid in Eugene, Oregon, there was this fantastic guitar player who went out on the tables, chairs, out in the audience and played. So I started taking my guitar in the audience. I tripped, fell backwards and ripped my pants.

Writers are egotists. All artists are. They can’t be altruists and get their work done. And writers love to whine about the Solitude of the Author’s Life, and lock themselves into cork-lined rooms or droop around in bars in order to whine better. But although most writing is done in solitude, I believe that it is done, like all the arts, for an audience. That is to say, with an audience. All the arts are performance arts, only some of them are sneakier about it than others.

It's a little like casting out hundreds of fishing lines into the audience. You start getting little bites, then more, then you hook a few, then more. Then you can start reeling them in and that's a loveliest feeling - the whole audience laughing with you.

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.

If you're up there performing a song for the first time, it's as if you're hearing it through their ears. You become acutely self-conscious of the song in performance, so that's a good thing before recording. But I like to have some surprises for the audience; I don't want the audience to know everything that's going to be on the record, because these days, with the Internet, people become avid collectors of pre-knowledge.

When a performer goes out on a stage, they may feel the audience is judging every aspect of them and their life. In fact, all that poor audience is doing is waiting to be entertained a little.

A lot of people that I know are bugged with the idea that they have got to have an audience, or they have got to be liked. I think the more that you fall into that trap it makes your own life harder to come to terms with, because an audience appreciation is only going to be periodic at the best of times.

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 always tell that to young people - go to college, do theater, work with an audience. Don't try to learn how to act in front of millions and millions of people. Don't make that your first ambition, to be on a sitcom or get into the movies. Learn who you are as an actor, and the best way to do that is to do it in front of an audience.

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.

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.

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.

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.

Great stories agree with our worldview. The best stories don't teach people anything new. Instead the best stories agree with what the audience already believes and makes the members of the audience feel smart and secure when reminded how right they were in the thirst place.

Different reactions while film test screening doesn't mean even the audience thinks ambiguity is a bad thing. But if you're asking them right away to start checking things off, they don't know what to do. I think at their best, it applies to when the audience knows what it is. Then, when they say, "Oh, well, I thought it was too boring in blah-blah-blah part," then you better pay attention to it. It's like going for the hamburger. Better be the good hamburger I went for.

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.

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.

The customer is always right' may have become a standard motto in the world of business, but the idea that 'the audience is always right,' has yet to make much of an impression on the world of presentation, even though for the duration of the presentation at least, the audience is the speaker's only customer.

Once Steve Fuller said that there is this idea that your responsibility as an intellectual is just to speak the truth as you see it. But actually, you should be more appreciative of what needs to be said. I don't think that's ever an excuse to say something you don't believe is true - but sometimes the emphasis has to be different. Well, if I'm talking to an audience of hardline atheists, I'll be trying to unsettle them a bit more, whereas, if I'm speaking to an audience of believers, I'll be giving them more of the pros of atheism. It's about having a sensitivity to context.

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.

I've set aside a nice chunk of my advertising revenue each month for giveaways, like a KitchenAid mixer. I like buying them for the audience, because without the audience I wouldn't have the blog or the revenue in the first place.

I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.

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

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.

When you do a TV show, the cumulative intimacy you develop with the audience through your characters is pretty profound. It may be the most profound storytelling there is, because the character gets to live and roll around in the audience's mind week after week.

You never know what an audience is going to think about something. The ones that the audience doesn't get, I tend to let them go. I don't like to dwell on them too much.

In fact, I think more broadly about what an audience requires, but I want an audience to be fascinated by the process of finding an answer, or finding out there isn't one.