Quotes About Audiences

If it's too much for people, if audiences don't accept it, well I guess that's just the way it is. I'm not being cavalier when it comes to my financial partners, but I think I've earned the right to do my thing my way. While I really want it to do well and it would be lovely if it's popular, movies are for a long time. I'm really proud of the piece. If it ends up not connecting with audiences, I won't be heartbroken. I'll be a little disappointed, but I won't be heartbroken.

I have often felt that I cheated my children a little. I was never so totally theirs as most mothers are. I gave to audiences whatbelonged to my children, got back from audiences the love my children longed to give me.

I was in the ensemble and also covered the parts of Dee Dee and Mary!! I had a fantastic time doing this show especially when we performed in places like Cardiff and Glasgow where the audiences were just so enthusiastic, joining in with all the songs and up on their feet dancing at the end!!

You know what I miss? The energy of live audiences, because there's no substitute for that exchange that you get in real time when you're sharing a moment, a same with people who are in that same time and space with you. I really just love that. I enjoy it when I get to travel and make speeches now. I like that a lot too. But that's probably the thing that I miss the most about hosting my own show.

Different authors write different ways, have different relationships with their audiences, and those are all legitimate.

I perform regularly with a theater company called Outside the Wire who take performances of Greek tragedy to American-military audiences around the world to create discussion about PTSD and soldier suicide. It's one of the greatest things I've ever been asked to do as an actor.

The foreign audiences are somewhat surprised and happy to find an American film that asks questions about American culture. There's a certain kind of cultural imperialism that we practice. Our films penetrate every market in the world. I have seen and have had people reflect to me, maybe not in so many words or specifically, but I get the subtext of it - they're somewhat charmed and surprised and happy to see an American film reflect on our culture. Because they see other cultures reflect on our culture but they don't see US culture reflecting on itself in quite the same way.

I love playing the CMA Music Festival each year because it's one of the very best audiences you could hope for. It's one of the places you can perform where you know everyone there is a big Country Music fan.

To look in the eyes of audiences and see the kind of naughty glee that they got with being on the inside, the audience becomes your co-conspirators.

We [with Neal Dodson and Corey Moosa] spent a lot of time writing, for lack of a better word, this manifesto about what we wanted to do. We wanted to find work that was relevant socially and that didn't take audiences for granted.

I often joke with my audiences that I make most of my income on a ski pole. People smile but they get my point. You need to make time for your genius to flow. We get our creative bursts, those idea torrents that take our business and personal lives to the next level, while we are skiing or drinking coffee in a Starbucks or walking in the woods or meditation with a sunrise. Those pursuits are not a waste of time. Creativity comes when you are relaxed, happy and enjoying the moment. And when it comes, it brings ideas that rock your world.

I think you've got to take the risks. There's no point playing it safe, because either you'll get bored or the audiences will get bored. Sometimes, you're going to make mistakes, and that's fine, but you have to take the risks. I think Pirates is one of the prime examples of that with Johnny Depp's performance, and part of the reason that people love it so much is that you watch it and go, "Gutsy, really gutsy!"

I just want my audiences to be entertained and feel like they're part of the show. I want to show them a good time and create an experience they're going to enjoy.

Audiences are the same all over the world, and if you entertain them, they'll respond.

The States still has the best audiences by far.

It's truly gratifying to see my films reach beyond a familiar public, to get a chance to move new audiences. It's nuts. It's extraordinary.

Because audiences all over the world can see an independent film almost anywhere and anytime, these new distribution outlets have opened a door that is revolutionizing the movie-going experience.

People who go out and do hits year after year after year, I think the fans deserve more than that. The audiences deserve more than just that. You need to give them something new, or things you really love to sing. And they love it.

I'm really interested in violence. And I think there's an inevitably cinematic property that violence brings to the moviegoing experience. But one still has to be thoughtful and mature about how you depict it and how you think it through. You have to think about the effects that violence has on audiences, and it's deployed so casually that I think it's losing its meaning. And when things like violence and murder and the dehumanization of other people lose their meaning, then we're really kind of in a place where we have to reexamine and take a hard look at ourselves.

What happens online is you are constantly dealing with invisible audiences.

White folks are the luckiest people: Finally a black president and he's a behaved one. Went to the best schools, best colleges, never raises his voice. I ran for president in 1968. I tell (audiences) if I won, I would have dug up the Rose Garden and planted watermelon!

What I enjoy the most is portraying villains like a vampire, a serial killer, a supernatural creature, etc... That's when I have the most fun, creating those roles. I also love playing the hero in horror movies, because then I get to really be believable, truthful to feel the terror, the scariness, the horror, and be able to really transmit that to the audiences watching the movie or that TV series.

Conflict is the basis of drama. I guess that goes back as long as time has existed as far as mankind is concerned, dating back to the Greek tragedies or the Old Testament. And violence is a form of conflict, so whether that's catharsis or whether that has some socially damaging effect on audiences - I suppose that would just depend.

I write on sacred stories, symbols and rituals of all cultures - European, American and Chinese - but my audiences, typically, like me to focus on India.

As a performing group, the Beatles began by playing old rock favorites, for dancing, to tough audiences in Liverpool and Hamburg. When they began writing seriously, they discovered that they couldn't compose in the early American rock tradition.

In the 1990s I got to play in a group that played in prisons in California. We would play in maximum security wards. It was infuriating. Those kinds of situations stick with me. We got to come in and play music for them because that's a way of caring, just offering something, a gift, basically. They're basically the most grateful audiences I've ever experienced, because nobody's giving them anything.

I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.

I need an army. I need people out there who are either preaching with me to different audiences that I can't get to or who are implementing the work and helping people actually learn their why or practice their why or implement their why because I don't do that.

For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.

Good information architecture enables people to find and do what they came for. Great information architecture takes find out of the equation: the site behaves as the visitor expects. Poor or missing information architecture neuters content, design, and programming and devalues the site for its owners as well as the audience it was created to serve. It’s like a film with no director. The actors may be good, the sets may be lovely, but audiences will leave soon after the opening credits.

Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.

I find that, rather than the cities, I'm very lucky because the audiences that come and see me are very, generally speaking, truly kind, so I have a great time playing everywhere.

The club shows are really intense and powerful, but for a shorter time, and the audiences are in close proximity than when I'm performing at The Palace Theatre.

Audiences can be very judgmental.

I have found that children are the most open-minded of all my audiences. They are not set in their ways. They are open to ideas.

What's required is a kind of social media sherpa, who can find you the audience you seek, who can reach to them on the platforms where they are already congregating, and who can help promote in tasteful ways that fit the sensitivities of the networks where your audiences are found.

First of all, we have exactly the opposite type of audiences, for obvious reasons. So the competition is not going to be between the movies. I wish Dakota the best, not only because of this movie. I know the expectations of these movies are enormous but we know-every member of the family, brother, sister, real father-that she's a good actress.”

We are entering into an age in which visual language is defined by a dialogue between photographers and audiences. This means not just the democratic posting of images but the democratic interpretation of images.

It's been interesting to see how similar audiences in the East and West are, actually, and how it makes you realize that when politicians emphasize the differences between our cultures, it's usually because it benefits them more so than us.

When critics or people judge, I think it's harder to make a commercial, pop movie than it is to make a pretentious art film. It's harder to reach millions of people and satisfy them and make them happy. These films kind of get ghettoized, this genre because there are so many big, big movies that are such big hits, but aren't any good. The audiences, they're not judging the style of the director, or the execution of the film. They're just looking to be entertained. They want to escape from their reality, and that's why we make movies, to get people to escape from the realities.

You work hard and you pray, and you do something where you know the energy around the project is right, but you never really know if it's going to hit and resonate with audiences.

I've been in love with audiences all my life, and I've tried to please. I hope I did.

I hate giving away tricks, you have to create an impression and not an image. You want audiences to look at certain places and not look at other places. And when you've got the help of modern-day abilities with technology, it's a much more natural look.

Consequently, pictures are aimed at certain audiences, whether it be a teen comedy or an action movie or whatever. It's unfortunate, because while it may lead to big opening grosses, a lot of pictures that are a little different and don't fit so neatly into either a niche market or a high-concept marketing approach can get lost in the shuffle. That's one unfortunate thing.

Contemporary audiences, other than those making a deliberate historical leap, would find, say, the 1931 'Dracula' impossibly slow.

You know, an hour and fifty-four minutes is too much for audiences. They get nervous.

We hope that audiences around the world embrace the picture in the same way they have the books and that hopefully Disney will allow us make another one.

When people realize that in the long run you may be turning off the audiences more, even though they will look temporarily--in the end they turn away, we really need to develop other metaphors and not talk about two sides, but talk about all sides.