Quotes About Audience

It is not the job of artists to give the audience what the audience want. If the audience knew what they needed, then they wouldn’t be the audience. They would be the artist. It is the job of artists to give the audience what they need

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.

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.

In theatre, the main objective is to make the art happy, not the audience! If you have to choose between the audience and the art, always choose the second! You must know that the audience will always pull you down; resist it and fly at the heights like an eagle!

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.

When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend 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.

Christian audience, I think, have grown very tired of movies that try to pander to them. For instance if someone goes, "Ok, we're designing what we're going to do with this movie. It's a Christian movie and they'll eat it up." And you know what? Consumers are smarter than that. They go, "The movie isn't that great and he thought that I would just be a sucker and plop my $10 down for it?" Because you're looking down at the audience. You can't pander to an audience.

I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.

I feel that tennis is an art form that is capable of moving the players and the audience - at least a knowledgeable audience-in almost sensual ways. When I'm performing at my absolute best, I think that some of the euphoria I feel must be transmitted to the audience.

Watching a movie with an audience is so exciting. For me, coming from TV, you finish an episode and then it airs, and I'm at home. There's no gratification and there's no audience interaction with it.

Without an audience, all your dreams will not come true at all, because you need an audience to write new songs and continue to do music.

As things grew for me I felt like I was losing myself and wanted to stay true to myself as well. I didn't want to lose any connection I had with the audience. I felt small on a big stage and I felt like I was peaking generically to an audience.

When you define the audience, the performer becomes what the audience wants. Politicians do that all the time.

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.

When I give talks like the one I'm going to give at the Changing Advertising Summit, one of the points I often make to the audience is that I'm not one of those speakers who stands in front of the audience and pontificates - everything I talk about I'm actually doing myself. I'm living it.

I love theatre. It's far more satisfying than film. Sometimes there's a collective sigh from the audience, or it's so quiet you can hear a pin drop. I couldn't believe how easy acting was when there's an audience; after a few previews I almost couldn't do it without one.

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.

As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.

When I was a kid in Eugene, Oregon, there was this fantastic guitar player who went out on the tables, chairs, out in the audience and played. So I started taking my guitar in the audience. I tripped, fell backwards and ripped my pants.

I'm the audience first, and if you're gonna be a great performer, you need to be a great audience. So, I do music for me first, and whoever likes it likes it, and whoever doesn't -- well, it's just not for them.

Writers are egotists. All artists are. They can’t be altruists and get their work done. And writers love to whine about the Solitude of the Author’s Life, and lock themselves into cork-lined rooms or droop around in bars in order to whine better. But although most writing is done in solitude, I believe that it is done, like all the arts, for an audience. That is to say, with an audience. All the arts are performance arts, only some of them are sneakier about it than others.

The potential audience seems to be dwindling in the states. I was kind of embarrassed for the band because of the size of the audience.

The audience makes the decision of what kind of actor they want to watch. I always have said in the last 20 years, the real boss is the audience.

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

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.

The best way to make friends with an audience is to make them laugh. You don't get people to laugh unless they surrender - surrender their defenses, their hostilities. And once you make an audience laugh, they're with you. And they listen to you if you've got something to say. I have a theory that if you can make them laugh, they're your friends.

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.

The audience got jaded, they want a hit, they want a big success, and so you don't want to experiment because you say, well, I'll disappoint the audience, they may not like it, I better do something that I think is more commercial.

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.

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.

And one of the things I noticed pretty early on in art school was that my classmates had no notion of an audience. Right? I mean, growing up with the mother that I did, I learned that when you walk into the dry cleaners, there's an audience waiting for you. You know, maybe it's just the person behind the counter.

I gravitate towards anything that feels challenging to me, that feels like it's gonna be saying something a bit different and new to the audience, and anything that moves me. I do movies that I would want to see, so I don't necessarily gravitate towards any genre in particular. I just try and do the best work I can and also try to keep the audience guessing.

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.

A playwright must be his own audience. A novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute.

In anything really, it's finding the reality. You can't be 'real,' but you can create a reality. And that created reality is what the audience believes in. And that's essential. Because if the audience doesn't believe that, they're never going to trust you. And if they don't trust you, you can't lead them up the mountain.

When you're true to yourself - not the audience that reads about me in the newspaper or sees a clip someplace, but the audience that actually comes and watches, just like Oprah - they get to know you and they sense something genuine.

I think the New York theater audience is very savvy. Sometimes you get newbies who think they're going to be watching Smash onstage, and sometimes you have people who have been coming to theater for years. It's the combination of those people in an audience that makes for a pretty amazing night - their ability to give each other permission to react and enjoy, in a way that maybe they wouldn't if they weren't sitting next to each other.

You can't expect everyone to laugh or applaud you for doing edgy things. Sometimes you'll miss. But I think comedians are artists and there's a value in failure. It kind of works both ways between comedians and audiences. The audience has to understand that comedians are going to sometimes tell a joke that doesn't work out with dark subjects, and the comedian has to understand that sometimes they 'll fail and it's not the audience's fault for not getting it or loving it.

Never try to fit a target audience. Write what is true to the characters in their settings and the audience will find you.

What looks absolutely fabulous in rehearsal can fall flat in front of an audience. The audience dictates what you do or don't change.

Also expressionistic filmmaking - making the audience feel like they were inside the characters' heads. And so we create all these different types of techniques to put the audience there.

Once Steve Fuller said that there is this idea that your responsibility as an intellectual is just to speak the truth as you see it. But actually, you should be more appreciative of what needs to be said. I don't think that's ever an excuse to say something you don't believe is true - but sometimes the emphasis has to be different. Well, if I'm talking to an audience of hardline atheists, I'll be trying to unsettle them a bit more, whereas, if I'm speaking to an audience of believers, I'll be giving them more of the pros of atheism. It's about having a sensitivity to context.

If you can get an audience to identify themselves with a character, they will subconsciously feel that their own lives are in danger. People tend to pay attention in situations like that. I think fear is the easiest, and most visceral, emotion to activate in an audience.

I'm not interested in the director's commentary stuff. I think that stuff is really boring. And, if the director explains too much, it takes a certain mystery away from the interpretation that is very important for the audience to have. The audience should have their own interpretation.

I've set aside a nice chunk of my advertising revenue each month for giveaways, like a KitchenAid mixer. I like buying them for the audience, because without the audience I wouldn't have the blog or the revenue in the first place.

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.