Quotes About Audience

All "bad" presentations struggle to keep the audience interested. The audience squirms wishing they could escape. The audience has given the presenter an hour of their life, so they want that hour to be useful. It's disrespectful of a presenter to not show up rehearsed and prepared with information and insights that will improve the lives of the audience in some way. Presenting will do only one of two things for you: it will either diminish your credibility or yield results. Most bad presentations hurt the presenter's credibility.

Don't make your audience play Jeopardy. Giving your answer before asking the question puts your audience at a disadvantage. It will also reveal your biases. Make it clear what question you are trying to answer first. Then allow your audience to engage in answering the question too.

I don't like to be my own audience, I find that being my own audience, being in the audience, makes me self-conscious, basically. So I tune in sometimes, with the sound off, to check it out and I back up to it. In the future I will look at it when some time has passed.

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.

There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to, first of all, the environment in which it's being staged; then the audience, the nature of the audience, the quality of the audience.

The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.

Many people become self-conscious when they communicate. Whether it's writing or speaking, they are consumed by anxiety. Self-consciousness is an impediment to what is required to serve an audience effectively. One's goal must be to achieve audience consciousness. To put oneself in their place, to recognize that the value of any communication arises from how it is received by them, not by what it means to the author. Rather than learning a multiplicity of rules for speaking, for example, I would suggest that a focus on serving one's audience will simplify and clarify everything.

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.

Having a live audience makes a world of difference to the acting. It keeps your timing sharp. When something doesn't work, the actor can sense the reaction from the audience and quickly move on.

A playwright, especially a playwright whose work deals very directly with an audience, perhaps he should pay some attention to the nature of the audience response - not necessarily to learn anything about his craft, but as often as not merely to find out about the temper of the time, what is being tolerated, what is being permitted.

The truth is that the heroism of your childhood entertainments was not true valor. It was theatre. The grand gesture, the moment of choice, the mortal danger, the external foe, the climactic battle whose outcome resolves all--all designed to appear heroic, to excite and gratify and audience. Gentlemen, welcome to the world of reality--there is no audience. No one to applaud, to admire. No one to see you. Do you understand?Here is the truth--actual heroism receives no ovation, entertains no one. No one queues up to see it. No one is interested.

The ideal audience the poet imagines consists of the beautiful who go to bed with him, the powerful who invite him to dinner and tell him secrets of state, and his fellow-poets. The actual audience he gets consists of myopic schoolteachers, pimply young men who eat in cafeterias, and his fellow-poets. This means, in fact, he writes for his fellow-poets.

I always wanted to do a movie, because I love the movies. They give you a chance to have an intimacy with your audience that is different from stand up. With movies, you can bring the audience in with a close up, and emote in a different way.

If you individualize an audience, it helps up the stakes of your responsibility to that audience.

You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, I'm your mirror; if I can do this in my life, you can do it in yours.

I have no problem with bands using participant financing schemes like Kickstarter and such. I've said many times that I think they're part of the new way bands and their audience interact and they can be a fantastic resource, enabling bands to do things essentially in cooperation with their audience. It's pretty amazing, actually.

Part of the discipline of being an editor is that you have to be a good audience member; your work is to be a surrogate audience member on the films you are working on.

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.

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'd rather lose the small part of the audience that is going to be insulted because a documentary shouldn't have music than the big part of the audience that kind of gives itself over to the scene.

Intimacy comes from being yourself on the stage and making the audience feel, without trying, that you're sittin' down there with 'em, playing, and that can happen in a big hall, if you have a good audience that want to listen

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

If you listen to the talk shows, which are rabid right-wing, and very interesting, an important fact about the United States, they reach a huge audience. And they're very uniform. So right wing, I don't think you can even find an analog in your, but they reach a mass audience, and their view is that the corporations are liberal. Their appeal to the population is, "the country is run by liberals, they own the corporations, they run the government, they own the media, and they don't care about us ordinary people."

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.

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?

I seek a diverse spectrum of roles. If I just was in a large-budget feature for a younger audience, then I want to find a smaller, more character-driven piece that might be for a more mature audience. Or if I'm playing a goofier character, then maybe I want to go play a serious, psychopathic character. But at the same time, it's usually a case-by-case basis where I'm judging the merit of a role by the script I'm given, and it usually has less to do with the larger framework and more to do with how the part personally appeals to me in that moment.

The big difference I think between tv and stage is definitely the immediate buzz that you get. And that's not just as an actor, as an audience member you're getting the chance to have this kind of two-way process where the actors and the audience are experiencing the same thing. With tv you often have to wait months and months down the line to actually get the pay-off. Whereas with theatre it's a very immediate thing.

Curiosity provoked me to lay a lot of our country stuff on our predominantly black audience and some of our black audience began whispering "who is that black hillbilly at the Cosmo?"

But know this: as far as a music culture goes, EDM is the one who will accept the kids on the outliers, the ones who get bullied, the ones who feel like they may not quite fit in. This community is exceptional in its ability to bond all types together, and I am not exaggerating when I say it saves lives. Our audience is intelligent and kind, discriminating only in regards to which sound they like best. Our audience is unprecedented in their drive to proactively support each other.

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.

If one talks to more than four people, it is an audience; and one cannot really think or exchange thoughts with an audience.

When you play a smaller, more intimate venue, you can have real conversations with your audience, take risks, and stay current. You can also change the set list, on how the day feels or how the audience reacts. When you do arena shows, every arena looks and feels the same. You can't see who is in the room.

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.

Of course I love when people are quiet, but I also love when people are comfortable. I love when people emote. The flip side of having a totally silent audience is that they're less likely to react to you in the space, and I think that's one of the great things about performing live: you get energy from the audience, and you give energy back to them. There's interaction.

It's difficult to get an audience to want to keep up with you, stay present tense. But there's never been a big lag in my career between product. I've constantly tried to pull my audience up into what I'm doing present tense, and they've been usually happy to go there with me.

Well, besides being entertained, I’d like to move them emotionally. I mean I really want to uplift them. I want to look down at the audience, and this is personal experiences now I’m going to tell you. It’s like you look down at the audience and see people smiling, crying, hugging each other. I want them on their way home to feel empowered like they can do anything.

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.

The feelings of being in the audience and being on the podium are very far apart. When you're onstage and something goes wrong, you can do something about it. In the audience, you just have to sit there, and if it's a disastrous performance, I'm the one that gets blamed.

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

Bad reviews I've gotten never diminished the number of people in my audience; good reviews have never added to the number of people in my audience; be your own critic.

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.

If you're a content brand, you have to be in every place your audience is. Sometimes your audience is on the couch and wants to watch a 30-minute show, and sometimes they're checking their Facebook feed and want to see something that's only a minute long.

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 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.

I'm working for myself; what else have I got to work for? How can you work for an audience? What do you imagine an audience would want? I have got nobody to excite except myself, so I am always surprised if anyone likes my work sometimes. I suppose I'm very lucky, of course, to be able to earn my living by something that really absorbs me to try to do, if that is what you call luck.