Quotes About Audience

All of Europe is tremendously integrated now; perhaps from all those years of colonization. Everybody that they've colonized has come to the mainland, so you'll have a racially diverse audience as well. You'll have many Middle Easterners, Asians, Africans, from seven to ninety sitting in the audience, and the really incredible thing is that they all know the music. I don't mean they just know a song here and there. They know the music. They are a very educated audience.

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.

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.

I need an audience way more than an audience needs me.

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.

Doing this web show - people underestimate what it takes to do a web show successfully. They underestimate the amount of work that you have to do to get it to your audience after it's made. I think you have to work so much harder, especially if you don't have a huge budget. You have to know how to get your audience engaged, because the Internet is so distracting, and there are so many choices. People, even if they love your show, will forget to go back for episode four, because you know, people are busy.

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.

In the vast majority of movies, everything is done for the audience. We are cued to laugh or cry, be frightened or relieved; Hitchcock called the movies a machine for causing emotions in the audience. Bresson (and Ozu) take a different approach. They regard, and ask us to regard along with them, and to arrive at conclusions about their characters that are our own. This is the cinema of empathy.

My show is an anti-show and the audience have to want to listen. I'm sitting down, there's only one of me, I don't talk much to the audience and it is very quiet. I wouldn't be able to do that kind of show if people didn't know me and my material.

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.

My audience is comprised of three categories. The first category contains the people who decide after the first five minutes that they've made a mistake and leave. The second category is the people who give the film a chance and leave annoyed after 40 minutes. The third category includes the people that watch the whole film and return to see it again. If I'm able to persuade 33% of the audience to stay, then I can say that I've succeeded.

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.

The nice thing about live performance is that I've never, ever been let down. Partly I'm lucky that my audience self-selects itself. Generally they know what they're in for, and generally we all just like each other and get along. But I always find one or two or a dozen really interesting people in the audience who make the show different. And that's one of the things I really like about performing.

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.

A lot of people, musically anyway, have realized that they can do it, and there's an audience for it at least in their own country, and often thought a lot of countries have a diaspora that breaks out all over the place, so they have a pretty wide audience.

For me, the great joy is to watch an audience watching what I've made. To hear not a peep from the audience at the right moment, and then to hear the laughs and the cheers.

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."

When I was younger, I would go to auditions to have the opportunity to audition, which would mean another chance to get up there and try out my stuff, or try out what I learned and see how it worked with an audience, because where are you gonna get an audience?

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.

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.

If the audience gets everything, if they see the photography and notice that it is good, then the story goes out the window, but if you become involved with the lives of the actors and forget that you are seeing mechanical devices on a huge screen - forget the make-believe - this is the job of the director to involve the audience with the actors.

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.

How often we all have heard speakers begin by calling the attention of the audience to their lack of preparation or lack of ability. If you are not prepared, the audience will probably discover it without your assistance.

My problem is that the audience is more fiction-literate than ever. In Shakespeare's day, you probably expected to see a play once or twice in your life; today you experience four or five different kinds of fiction every day. So staying ahead of the audience is impossible.

A professional entertainer who allows himself to become known as a singer of folk songs is bound to have trouble with his conscience provided, of course, that he possesses one. As a performing artist, he will pride himself on timing and other techniques designed to keep the audience in his control ... his respect for genuine folklore reminds him that these changes, and these techniques, may give the audience a false picture of folk music.

Well, I think it's important to keep things secretive because what's happened so much is the press competes with each other to put as much information out there as they can and sometimes it can be very damaging to the films to have the stories leaked or certain plot details. I think it's important to have something remain secretive for the audience and something special for the audience so there aren't spoilers all over the internet.

A movie is made for an audience and a film is made for both the audience and the film-makers.

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.

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.

In a play, you can adjust your performance to audience reaction, but in a film it's like you're trapped in a bad dream watching yourself act and you're in the audience

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.

When I write a play, my whole intent at bottom is to get the audience to be in the cast, to get that audience on stage with the actors and to get them thoroughly involved in what's going on.

Perhaps the most demanding trick in all of art is to know ways that are going to capture the attention of an audience right now, and yet to also hold an audience hundreds or thousands of years into the future in circumstances you just cannot imagine. You've got to go very deep into human nature to do that.

I can go in front of an orchestra. I can go in front of an audience. But if you see me walking through an audience in the reception or through a lot of people, I'm still shy.

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

The only thing that really matters in the initial part of my career, the worst mistake I've ever made was try to do things to please the audience thinking how the audience is going to respond if I do this.

When technology is used as a gimmick it can be a terrible distraction. The trick is to harness technology in a way that empowers the audience, informs them and brings them closer to the action. CNN has always been an innovator on election night, with the Magic Wall leading the way. Tonight, for the first time, and we're going to put the Magic Wall in the hands of our audience. Along with our partners at Microsoft, we have built a tool to let our users drill down into the key races and access a great deal of data, real time, as the results are unfolding.

If we're going to reach a broader audience, we have to stop thinking about that audience strictly in terms of teenage boys or even teenage girls. We need to think about things that are relevant to normal humans and not just the geeks we used to be.

I got to watch Anthropoid with this Czech audience and the story means so much to the Czech people so watching it with that audience was kind of terrifying but they responded very well.

Performers should realize they not only have to prepare themselves for concert purposes as far as memorizing their programs goes, but for the business of just walking out before the people …. It is important to play before an imaginary audience too. Before I play in public I very often play a program three or four times as though I were seated before a actual audience.

Every night I try to look at the audience and treat every audience differently. It's almost like it's a single entity or a person. I always try to treat it like a conversation and allow it to happen naturally in the same way that you would engage in conversation.

You have to know the rules, otherwise you have no tools to communicate to the audience, but to keep it fresh you have to break some. I don't choose genres as the element, but the material itself is the element, then I'll decide what genre I need. That's just how I work.

I like the boundaryless potential you get when you make work for a context that is open to interpretation. Thinking about an art context is too claustrophobic, though. I always hope that at least half my audience is not directly related to the art world. I use art as a balancing act. It's a good way of avoiding everyday chores and social obligations.

An audience is in many respects no more than a mob under loose control.

An audience can really lift you right up off the stage.

No matter how much I'm on and people are loving me, there's always some like, and it's usually a woman too, in the audience rolling her eyes, "Oh Wayne, you're embarrassing yourself." There's always someone like that.

Pardon the plug, but what I like most about Toronto is Metro Morning's audience. I think it's got to be the most multi-faceted, multi-lingual, omni-curious collection of plugged-in people I've ever encountered.

When you're touring and if you go to a party, there's automatically a celebrity-audience distance. It follows you around, especially when you're on the road in small towns. Any time there is awe, it gets very difficult to be normal, to be yourself. But I'm not saying that that's what made me the way I am. I've probably always been distant.