Quotes About Audience

The one thing that I love about the live audience is the energy level. Like, from the minute of cast introductions, it's just constant energy being traded back and forth. When you do something funny, the audience laughs; when you're being serious, you can, like, feel the tension going through the audience.

I make comedies and I always try... I don't try but I allow to have at least 5% of the jokes or have some jokes that I know will be understood by only about 5% of the audience. It's that guy in the corner who gets it and laughs. But he has to have his jokes too. That's part of my audience. Part of my audience is the people who will only get certain things.

I'm still learning about music. The best way to learn is to listen to the audience. When you listen to the audience, they will tell you what they like. I wish these big corporations, instead of telling the audience what they should have, would listen.

The last collaborator is your audience ... when the audience comes in, it changes the temperature of what you've written. Things that seem to work well -- work in a sense of carry the story forward and be integral to the piece -- suddenly become a little less relevant or a little less functional or a little overlong or a little overweight or a little whatever. And so you start reshaping from an audience.

Every lecture should state one main point and repeat it over and over, like a theme with variations. An audience is like a herd of cows, moving slowly in the direction they are being driven towards. If we make one point, we have a good chance that the audience will take the right direction; if we make several points, then the cows will scatter all over the field. The audience will lose interest and everyone will go back to the thoughts they interrupted in order to come to our lecture.

The way you survive in the performing arts is by having a sense of your audience, and doing things which entertain and satisfy the audience, but in a more important way, cause the audience to question many things.

An audience is the perfect thing to unleash venom and hate on. It doesn't necessarily mean you hate everyone in the audience but when you've got a so-called adoring mass in front of you, it's a perfect target for that kind of disgust. Sometimes you find yourself in a position where you're venting your disgust on an audience and a lot of them keep coming back 'cos they actually like that aspect. In a way that diffuses the feeling and you don't gel the same release.

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.

My audience is a diehard audience. They are dedicated. My audience always follows me and sticks with me. They're the reason I'm still here - in the films and in stand-ups.

The whole point is you're telling a story to an audience. So when there's no audience, it's like cinematic masturbation.

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.

I like anything with a live audience. I love sitcom work. I hope it comes back in fashion because I really love it. I love single-camera work, too, but in a different way than that live-audience thing, which is really exciting.

I have no interest in making music solely for a white audience. If that's what our audience is, I don't really feel responsible for that.

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

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 have been able to get a small audience. It's not the huge audience, but it's enough to make it possible to play. I appreciate that.

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.

I know there are people who don't like their audience or like the experience of being recognized or celebrated, but my audience has been very good - they don't bother me and when they do contact me it's usually on the nicest possible terms.

Whatever field you can do that, that's where you want to do it, and I think that's why people like David Fincher and Ridley Scott are interested in it, too, because when you sit down on a meeting in HBO and they're like, "More, more." You're just like, "Oh yeah, I love this." Sometimes it's a little harder in film. I think also it's a great audience, take advantage of it. It's a great audience.

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

It wasn't just about doing tricks. It's about taking an audience to another place, a special place, so they can really suspend their disbelief. Its about amazing the audience as well as moving them.

Getting the audience to cry for the Terminator at the end of T2, for me that was the whole purpose of making that film. If you can get the audience to feel emotion for a character that in the previous film you despised utterly and were terrified by, then that's a cinematic arc.

If you lead with the anger, it will turn off the audience. And what I want is the audience to engage with the material and to listen and then to ask questions. I think that 'Ruined' was very successful at doing that.

There was but one question he left unasked, and it vibrated between his lines: if gross miscalculations of a person's value could occur on a baseball field, before a live audience of thirty thousand, and a television audience of millions more, what did that say about the measurement of performance in other lines of work? If professional baseball players could be over- or under valued, who couldn't?

I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.

I think you do have to attend to the sort of core values of film, which is that the audience wants to have a relationship with the characters, they want to understand what's going on there. There are certain things that comics can have a little bit more freedom in then when you're asking an audience to engage in it as a piece of cinema, but I do feel like the canvas is much bigger and wider and that we're being invited and frankly challenged to take risks, to be a little bit different. And that's fun, that's exciting.

Audiences - they like colour, you know. I can go out there wearing a red suit, man, and they'll say I'm out of sight ... I think they should be educated; you should always drop something on an audience ... When you get in front of an audience, you should try to give 'em something. After all, they're there looking at you like this. You can't go out and give 'em nothing.

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.

But the audience is right. They're always, always right. You hear directors complain that the advertising was lousy, the distribution is no good, the date was wrong to open the film. I don't believe that. The audience is never wrong. Never.

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

Does having a wife and kids change your act? Yes, but only in the best way. It gives you weight and authority. It also makes you closer to the audience because the audience is married and has kids.

The form came out of the function because it is for the audience that already knows the show, while hoping to get a new audience, too.

When you're writing for the screen, you have to be hyper-conscious every moment of how the audience is going to react. If you write just one scene where the audience is confused or it breaks their concentration in some way, then you've lost them, and you might never get them back.

The difference when I'm writing a story versus writing a joke is that writing a joke is so much more about the structure and it's less about the conversation. To me, the thing that I love about stand-up is the intimacy between performer and audience.To get it even more conversational was something that really appealed to me and that I really enjoyed doing. My early experiments with it, with just telling a story from my life on stage, it was so satisfying to do. And seemingly for the audience as well. It's a different thing, and it's a different feeling and a different vibe.

As long as I can make that audience one thing, one unit, then I'm okay with it. But, sometimes, the bigger the audience, the weirder it gets.

I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.

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 never think about the audience. If someone gives me a marketing report, I throw it away.

There has been only a civil rights movement, whose tone of voice was adapted to an audience of liberal whites.

When talented people write badly, it's generally for one of two reasons: Either they're blinded by an idea they feel compelled to prove of they're driven by an emotion they must express. When talented people write well, it is generally for this reason: They're moved by a desire to touch the audience.

I think the cartoons that they're children are watching, particularly 'The Simpsons,' they're OK. I think that the adult audience is making much too much of the danger that they imply. That's not the case. The danger for children today, honey, is the news. Keep them away from news on television.

Thank your readers and the critics who praise you, and then ignore them. Write for the most intelligent, wittiest, wisest audience in the universe: Write to please yourself.

We film in front of a live audience, and I was a theater actor before I got into television, so I like that.

The best audience is one that is intelligent, well-educated, and a little drunk.

That's the thing about great artists: They find the thing that's most obvious to themselves, what's most conscious and natural, and they put it out there and the audience comes.

My audience is going to die before I do.

My goal with everything that I do is to present things in a way that I would want to see if I was in the audience or buying the record.

Gene [Siskel] often mentioned something François Truffaut once told him: the most beautiful sight in a movie theater is to walk down to the front, turn around, and look at the light from the screen reflected on the upturned faces of the members of the audience.