Quotes About Audience

A good stand-up, you lead the audience. You don't kowtow to the audience. Sometimes the audience is wrong. I always think the audience is wrong.

Television masturbates its audience even though the audience is not really watching. It masturbates orifices the audience doesn't have. It sticks holes in the viewer and masturbates in those holes. Then it finally gets into the brain and masturbates there, too.

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.

If you address yourself to an audience, you accept at the outset the basic premises that unite the audience. You put on the audience, repeating cliches familiar to it. But artists don't address themselves to audiences; they create audiences. The artist talks to himself out loud. If what he has to say is significant, others hear & are affected.

For me, a great show is when there's a great rapport with the band and the audience, and we're all really into it. The first trick is to bring the audience into the band, break the ice, have a life, and be one, so you can enjoy the next hour and a half together.

Science and technology were often used by [the magician of old], even before they came into the marketplace on a mass basis. For example, prior to the moving picture going into theatre, magicians were using the technique of images in motion as illusions in their shows. At that time the process was so new, an audience perceived it as magic. Also in the early stages of holograms magicians would use these images to baffle and mystify their fans. Hence, you always need to stay one step ahead of the technology game to "WOW" the audience.

Well you can see that I'm still in motion. It happens that you share the music with the audience. That is the best happiness an artist can have. I'm not alone on stage but with a group of musicians. So the more the music is successful, the more the audience feel happy about the music. It's the responsiblity of an artist to make his fans happy. That is proposition. I'm always talking about proposition.

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.

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.

You've got to capture an audience. You don't go out there and just sing, or just play. If you can't capture an audience, you might as well not be out there.

I'm always trying to bring unusual content to a different audience - a non-art-world audience.

Let no preacher in a little church think that he has no audience for his message. An unseen audience of multitudes compass him about! Let no Christian who sins in the dark think that he is unobserved. He is compassed about with so great a cloud of witnesses! Assuredly in Heaven they know what goes on on earth.

Just in higher education alone, more people go to college now, by enormous amounts, than went to college in the '50's and '60's. So that represents a whole new literate public that's a consumer of literature, of news, of print, of, you know, opinion. And that's a bigger audience and much more diverse audience than it used to be.

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.

I advise treating the studio audience like a nightclub audience because that's the reason you're doing television - to get them to come see you in a nightclub.

Every 20 minutes you've got to have a bump, you've got to have a change in course, you've got to unsettle the audience. It can't be too predictable so something has to happen. I think that was something that Hitchcock did very well too. You couldn't let an audience feel too settled in.

When you have a chance to be an artist with an audience in your lifetime, you have to say thanks to your audience. That's a great thing. That's the best thing that can happen to an artist.

We need more extreme movies in Sweden.Personal projects that are necessarily made for a bigger audience. I think it creates a creative lock-up to have the audience as a goal.

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.

Fame is directly related to the kind of support you have from an audience and the love and support I have from audience is so immense and so huge, that the percentage of negativity is so small compared to that that it would be very easy for it to lose itself.

I am a real ham. I love an audience. I work better with an audience. I am dead, in fact, without one.

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.

In theater, it's just you and the audience. It's less of a popularity contest. It's just you and the audience, and they're laughing or they're not laughing, that's the only gauge you really have. But with TV and movies and everything, it's like "Well, did you get a meeting at so-and-so?" and "So-and-so's really hot right now," which is all the stuff I'm probably still not used to.

What I love about the theater is that you know who you're acting for: your audience. And the thing I find really hard in film is, you don't. The audience is invisible. And we're sitting there, hoping there's other people out there.

I love the theater because I love the live audience and when we went three cameras we have a live audience in the study so we had someone to play to and react to. That laughter.

With a feature film you're dealing with so much more money and you've got to be very aware of the fact that you're really working with an audience. You've got to have a relationship with the audience. Play with them and show them things you want them to see.

We had Chinese artists that would put in elements for the Chinese audience like the calligraphy actually means something so the audience when they read it they'll understand. So there were definitely little things we were able to do that specifically leveraged the artists' talents.

The thing is that honestly we haven't had an audience. And we have a chance to have an audience now. Which is great because I think we've sort of evolved as a band to the point where I think we might actually be interesting to go see.

You can have a knack for dancing, but you still have to practice till your feet are bleeding to be worthy of being in front of an audience.

The relationship with a live audience seems to me to count for more.

You have to leave the window open for better classes to come along as you go. You can't grow too proud of your script. You have to let the thing shape itself. It guarantees the best classes will always be used and it also keeps you from going braindead. If you grow bored and uninspired working on something, the audience will be able to tell.

My reaction to 3D is subtly. Things don't come out at you, but rather you - The audience come into the film.

The only difference with wrestling is we're like a live performance. So we're feeding off the audience and if they do't like something, they can let us know immediately.

Anyone can do shock value. Develop enough tension and cue the music right, then have something jump out: It's almost impossible not to jump in your seat. But that doesn't leave any effect on you when you leave the movie theater. To me, the best horror is psychological horror. The Exorcist, The Shining, The Omen, things that kind of stick with you long after you've seen them. It's what you don't see. It's letting the audience think a little bit, not spelling it out for them. Giving them credit for using their own imaginations rather than sticking in gags and tricks.

I think the mystery of art lies in this, that artists’ relationship is essentially with their work — not with power, not with profit, not with themselves, not even with their audience.

Songs come alive every night and can be a new experience for someone. You might have someone in the audience who has never seen us before and hearing it for the first time. We are aware of that.

I've been an audience member for friends in plays that I don't enjoy and I have to lie to their faces. It's just part of that lifestyle unfortunately, especially in New York.

Performance-wise, you really need to be down in the trenches; you need to do the hard work, for a lot of reasons: To build yourself as a performer, to get a sense of the audience, to work hard and to wonder, 'Do I really want to do this?'

Todd Glass has amazing energy on stage. Dave Attell is one of my favorites because he's a one liner comic who is always incredibly in the moment with the audience. As for newer people, I think Adrienne Iapalucci writes some great, dark jokes and Sean Patton has a hilarious voice on stage.

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

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 I sing, I pick out people in the audience and pinpoint on them. So if you feel that I am singing just for you, you may be right!

It's nice that HBO is in business with the audience and not with the advertisers. There's a difference.

We are in niche consumption mode, but 'niche' doesn't mean 'small' anymore. Niche can mean focused, and particularly with the Web, which is a global audience you can have something niche and still get 10 to 15 million views.

Audience boredom is usually a content failure, not a decoration failure.

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.

I think if you're good and you can persuade people you're going to be able to do that role and ultimately the audience buys it, then it doesn't matter whether you were really a chimpanzee in disguise! You've done it.