Quotes About Audiences

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.

I can only do it if there's humour, wit, comedy and drama. If you can get audiences laughing and then suddenly turn them to tears... it's a weird way of making a living making people cry, but I think it's very exciting to be able to send audiences on a rollercoaster ride.

Animation, for me, is a wonderful art form. I never understood why the studios wanted to stop making animation. Maybe they felt that the audiences around the world only wanted to watch computer animation. I didn't understand that, because I don't think ever in the history of cinema did the medium of a film make that film entertaining or not. What I've always felt is, what audiences like to watch are really good movies.

American audiences don't react in the same way as European ones to African music because, I think, Europeans listen to this music through all the festivals that exist here.

The good and wonderful thing about my whole career is that I've always felt that the audience, if I do it well, will track wherever I go, whether it's President or a lawyer or bad guy or good. All I have to do is execute the material enough where they buy into it. I've had the great luxury of the audiences accepting that.

Bonnie and Clyde became not just a big hit, but a movie that went through young audiences like a first slug of Scotch. It affected clothes, talk, manners. Though set in the thirties it had the feeling of 1966, the most dangerous moment in American young people remembered.

I think human beings probably resonate with audiences more than bunnies, but who knows?

Audiences tend to dig the earlier stuff by any given musician, and the artists themselves always tend to prefer the thing that they're doing now.

There can be no doubt about this. It even held true for the soldiers involved in the Kosovo War. For the soldiers stayed mostly in their barracks! In this way, polar inertia has truly become a mass phenomenon. And not only for the TV audiences watching the war at home but also for the army that watches the battle from the barracks.

I split it up into working on the two narrative pieces that can tell a story. The scariest thing was whether I'd be any good performing live again. It was such a long time since I'd done any live work. It's so different for me than recording. Every night my audiences were what I would dream of. You could just feel their support.

Audiences could never relate to me as anything other than Tori Spelling.

Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.

I understand why creative people like dark, but American audiences dont like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.

Audiences in every medium are becoming far more savvy. No one goes to watch a Tom Cruise movie any more just because it's starring Tom Cruise.

Acting is trying to be absolutely truthful; to get audiences to believe that you are a dean, when, actually, not only are you not the dean, but if you walked into the building they'd probably throw you out. That's very hard.

My routines come out of total unhappiness. My audiences are my group therapy.

Audiences will see what they want to see. Some will come out, hopefully enjoying two hours of action. Some people will find themselves gravitating towards the emotional dilemma that the characters find themselves in. Other people will see that there is some layer of subversions to the storytelling aspect of poking a finger of judgment at certain governments to the idea of foreign invasion, others maybe false pretenses.

ِِِِِِِِِِArt house theaters are vanishing. They have almost disappeared completely, and that means there's a shift in what audiences want to see. And they have to be aware of that and be realistic. It's as simple as that.

One of my favorite things about animation is that the boundaries are as limitless as our imaginations. If we can dream it, we can make it. And if we do it well, audiences will believe it wholeheartedly.

India went through a dramatic revolution after the '90s when our economy started opening up for the first time and Indians were now experiencing the Western life, if you will. Drugs and sex and a lot of those influences came in as the economy stabilized, and we were growing up and experiencing that. The Indian writing market was very small at that time. Our literature was very attuned to what Western audiences were interested in, so everybody was writing about the slums in India and magic realism or stories about Hindus and Muslims and partition.

Audiences are harder to please if you're just giving them effects, but they're easy to please if it's a good story.

We've seen progressive rock all over the world, in South America, Europe, Asia, across the US and North America and Australia. There's huge audiences for this stuff. For me it's always been there and it's just a matter of time before the people have more of the means to spread the word.

In the end I created a career of my own, concentrating on my writing and lecturing, reaching larger audiences than I would had I ended up with tenure and a full teaching load. It was Virginia Woolf who said that it is terrible to be frozen out of a sacred tradition - but even more terrible to be frozen into it.

I'm doing the same thing and it's a hundred times bigger and a hundred times better. So if your going to make a computer game off a movie, is it going to be like "Avatar" where it's going to be a prequel before Jake even got to the planet. You've got to be smart because audiences demand that.

...I do like the low frequencies. It's from years and years of observing audiences when they hear a lower frequency coming from an instrument it tends to pull them in. You have to listen a little more attentively. High frequency instruments hit you so hard, after a while the ear has a tendency to want to shut down. And that's what happens. I've been able to observe very carefully how people tend to get very tired of listening to high frequencies a lot.

I'm interested in cinematic realism. I think there is a rich potential to bring to audiences people they haven't seen before, that they are discovering a bit like how we discover people in life for the first time. There's an authenticity that can't be denied.

You've got audiences cheering at the prospect of somebody dying because they don't have health care and booing a service member in Iraq because they're gay. That's not reflective of who we are.

There's a form of selling out. It's necessary. You have to become edible for people in Texas. You have to become edible for the Christian right, for mass audiences.

Saying you're a pop group isn't saying very much. Personally, when I think of pop, I think of instant, accessible, catchy songs - I definitely identify our music as that. I think that by writing pop, or instant, accessible or hopefully catchy music, it shoes you into bigger audiences because it seems that more people like that music. I think the possibilities are endless if you stick to a simplistic short song; the music can be as wild and bizarre as you want it to be, as long as at the core of it, there's something really strong.

Since the goal of my programs is to show audiences how humor can both help them heal as well as deal with not-so-funny stuff, I decided to discuss the events of the previous week, the pain all of us were feeling, and how humor and some laughter might be beneficial.

I tell the stories in front of audiences and wait for something to happen. It's similar to a standup comic doing his schtick for an audience.

When they tested Fatal Attraction, the audiences were so upset by her behavior, they literally demanded her blood.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

You think about taking audiences on a journey.

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.

The British audience was very important to me. I have always looked away from American to non-American audiences and so this was important.

One of the great things about film is that, typically anything that's introduced in the first five minutes, the audiences will by into.

What you want is the thing that critics love and audiences love, but that's the hardest thing to do.

I don't like audiences, I prefer my mistakes in private.

Music is still part of my spiritual life. Sometimes I sing my prayers. When I get audiences singing, I hope I'm helping them feel connected to something beyond themselves.

So that, to me, is important that audiences are treated with an amount of respect toward their intelligence. Most Hollywood films don't respect their intelligence.

I'm interested in the theater because I'm interested in communication with audiences. Otherwise I would be in concert music.

You've got to have a sense of different audiences. I'm a kind of performer manque - I come from a long line of failed actors!

Audiences grew to like this duality of feeling, where youre both championing a character and youre revolted by them.

Timothy Spall - best known to mainstream audiences as Wormtail in the Harry Potter series - delivers an Oscar-caliber tour de force reminiscent of Charles Laughton

There are a limited number of promoters out there who care about creating music. You rarely meet a promoter who's like, "I want to be responsible for the best shows, I want to make sure that these are the best shows these audiences have ever seen."

Audiences are far from being as dumb as some performers seem to think.

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.