Quotes About Audience

Kids audience is a brilliant audience. If you've got an audience of adults standing up and clapping, or you've got an audience of kids standing up and clapping, I know which one I'd choose.

I definitely prefer the single camera better. For me it's the simple fact that I enjoy working in front of an audience, but when you're trying to create a suspension of disbelief it's much harder to do in front of audience because they become a partner. Moreso than that, they become in charge of the timing. From the simple, mechanical fact that you have to hold for their laughter. The actual timing of the scene is in the hands of the audience. As a control freak, I don't enjoy that as much as the ability to be able to control it in an edit room.

The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.

It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.

There is always an audience for different individuals, but critics sometimes stop the audience finding the show and the show finding the audience.

I tend not to think about audience when I'm writing. Many people who read "The Giver" now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.

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

I test the movies a lot, and if the audience says they love the movie, we know we're on the right track. And if they tell me they hate it, I try to figure out what I've done wrong. But every time out, the audience wants me to go deeper, they want to know more about the characters, and they don't want these movies to be shallow. So they really urge me to tell them a complicated story, and then when I do so, they're thrilled

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.

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.

I have found, in short, from reading my own writing, that my subject in fiction is the action of grace in territory largely held by the devil. I have also found that what I write is read by an audience which puts little stock either in grace or the devil. You discover your audience at the same time and in the same way that you discover your subject, but it is an added blow.

I think my primary audience is in some sense an adult audience, because I think that will then have a knock-on effect for children.

In my book tours I get to meet an audience every night. And I see that there are mostly young people, and there are a lot of more men than before, but always young, I don't get older men. As I'm getting older, my audience gets younger!

To be honest, I am not theatre-trained and though I am confident in my skill set, to do theatre requires a better-tuned set of muscles and I sometimes defer to actors who are better trained. But at the times I do want a shot, I'll go for it, especially if the piece speaks to me and the opportunity comes up. The immediate response from a theatre audience is so thrilling, affirming, and soul-feeding; to know how you've affected an audience at curtain can be ego-blowing, both good and bad.

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.

Some artists see a gig as an audience worshipping them. I think it is about having a great time together. I have a part as the singer. An audience has a part. Playing a gig doesn't make me high on myself.

...You believe that the kind of story you want to tell might be best received by the science fiction and fantasy audience. I hope you're right, because in many ways this is the best audience in the world to write for. They're open-minded and intelligent. They want to think as well as feel, understand as well as dream. Above all, they want to be led into places that no one has ever visited before. It's a privilege to tell stories to these readers, and an honour when they applaud the tale you tell.

Do you need an audience to create work, or does not having an audience liberate you and make you a truer artist?

Don’t try to visualize the great mass audience. There is no such audience—every reader is a different person.

I was talking to one of the writers about our target audience, and he was insulted that I used that term. But if you're given $60 million to make a film, you'd better know who your target audience is. That's who's going to pay back the bills you run up.

I always like to think of the audience when I am directing. Because I am the audience.

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.

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.

I've spent a lot of time thinking about what the audience would want. That's my job, is to anticipate ahead of the audience.

Audiences of critical thinkers are my favorite kinds of audiences. There are jokes I tell in the show that don't get laughs unless I am in front of an audience of critical thinkers. Put me in front of a crowd of science teachers or astronauts! The guileless aren't our audience - it's the critical thinkers we love.

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.

What I prefer is an audience who listen. And are intelligent. Which I try and assume every audience is. And that if something goes wrong, it's generally my fault and not theirs.

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.

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 the poet's sentiments are overly visible, the audience may become uncomfortable. Japanese ritual is the opposite. By writing simply and only about what is there, the audience is drawn into the poet's world. Their imagination is stimulated, and a silent connection is established. I believe this is where the most important aspect of the Japanese sense of beauty lies.

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.

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?"

To achieve the intimacy between performer and audience in storytelling, I feel like I have to let the audience in on my emotional state, not just, "Here's a story I'm going to tell by rote, and you're just going to listen to it, because I'm such a wonderfully entertaining fellow." It's the idea of sharing enough of myself that it's not just all about, "Look at me, look at me." There's an element to it of, "You understand what I'm talking about, right? You've been in this place that I've been in," which makes it a richer experience.

Slow motion is so visually cinematic; when you create that, you create it for your audience, you let them have the feeling of what it must be like to be there. And in a movie, you can't forget the audience.

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.

Museums have these great collections and the reality is they attract a regional audience not a national audience.

Your purpose is to make your audience see what you saw, hear what you heard, feel what you felt. Relevant detail, couched in concrete, colorful language, is the best way to recreate the incident as it happened and to picture it for the audience.

It's very strange to go from being completely secluded and doing your own work for yourself, to having an audience - and having an audience that's aware of what you do and expects you to do things that they like. It can make things difficult.

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.

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.

The thing with playing live is, most of the audience is in their 20s and 30s. If you're older than that, you don't tend to go out to shows anymore. So it's good if you can attract a younger audience because they've got the energy to get up off the sofa and go out.

The Sophists had this idea: Forget this idea of what's true or not—what you want to do is rhetoric; you want to be able to persuade the audience and have the audience think you're smart and cool. And Socrates and Plato, basically their whole idea is, "Bullshit. There is such a thing as truth, and it's not all just how to say what you say so that you get a good job or get laid, or whatever it is people think they want.

I think about all these influences and musical cultures, then the opinion of the audience is of course important, but when I'm working on an album or a new project, I'm not all the time thinking about what the audience will think about it.

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.

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.