Quotes About Audiences

I'm no expert in what country artists go through or how country audiences would react, but I'll say that the work I did to put myself in Will Lexington's shoes absolutely led me to believe that it would ruin his career. Meanwhile, I was getting lots of supportive messages saying, "Will Lexington should just come out! It's 2015 already, audiences are going to embrace it!"

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.

It's a privilege. It's a real honor. It's a challenge. Michael and I always feel we stand on tall shoulders when we make these films. Audiences come to them with a lot of good will because of what's come before. We just try to make the best film we can, each time, and hope that we satisfy the fans. I'm sure, with Skyfall, that we will. I think it's a terrific film. I hope the audiences enjoy it, as much as we've enjoyed making it.

I do want to say things in these films. I want audiences to come out with shards stuck in them. I don't care if people love my films or walk out, as long as they have a strong response.

Dissenting opinions are useful even when they're wrong. So instead of speaking to highly agreeable audiences, target suggestions to people with a history of originality.

'Hoop Dreams' brought us back to our roots in veríté filmmaking. What we saw in the powerful emotional scenes within it - at nearly three hours long and with no star power - was an outreach to a different and more important audiences. There were the similarly involved folks who saw it that were part of the struggle, but there was also a new audience that weren't empathetic or sympathetic to the people we were portraying. They would never watch a film about inner city families, but they watched 'Hoop Dreams.'

If you have superheroes or characters that exist in the same world, and you're doing movies of them, wouldn't it be fun to put a couple of them together in one movie? Audiences love that. It's a natural thing to do that.

'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.

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.

President Reagan was a master communicator. In this particular speech he did a brilliant job moving between the stately role of U.S. President and a national eulogist. The pain of the event was etched on his face. In 4 short minutes, he addressed five different audiences. He spoke to the collective mourners, families of the fallen, NASA employees, school children, and even took a poke at Russia. He communicated comfort and patriotism within a very short timeframe. That's not easy to do.

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.

On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.

I love being in space. I love being challenged by great roles that a company like Marvel creates amazing movies that no only give audiences an adventure but also give us as artists an opportunity for us to be challenged to embody amazing, multilayered characters.

[David Milch] had say, "You have to understand that our history of western movies, what we've been doing in westerns since the movies began to talk, you had audiences that would be offended by certain things, and there was a cleaning-up of the way people spoke."

When I got to LA and was with the James Gang, I got the opportunity to write a lot, to play in front of large audiences, make some money.

We have to find new ways to work without permission, new ways to turn corners and go through doors that are closed off to us to create our own audiences and our own material independently.

I feel so lucky that I've been on shows that have been by and large critically acclaimed and that audiences like it.

As professional actors, it's our job to entertain our audiences while setting benchmarks for ourselves as well, creatively and intellectually.

Our film industry as well as the audiences are now open to unconventional pairings and subjects, which has aided my journey greatly.

To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.

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

On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.

And perhaps, those of us in the industry who are still foolishly clinging to the idea that female films, with women at the center are niche experience, they are not. Audiences want to see them and, in fact, they earn money. The world is round, people.

The audiences certainly have declined. If I go to the theatre now I find people come there to eat and smoke and talk to one another. And look like scarecrows.

[Action's] a Western thing. We think of the hero going into battle, rebelling against a government or an oppressor, but [in KUNDUN] action is nonaction or what appears to be nonaction. That's a hard concept for Western audiences. . . . We wanted to show a kind of moral action, a spiritual action, an emotional action. Some people will pick up on it; some won't.

Ultimately, what audiences respond to is truth. Even as fantastical as the story can be, and out there, at its core, it's dealing with loss, madness and mortality.

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

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.

It's always an inner wish of every actor to reach out to maximum audiences.

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

I really enjoy playing America. I like the audiences there. It's the home of a lot of music I grew up with.

Some writers take to drink, others take to audiences.

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.

Machines have given us a new ability to count and make our understanding quantitative. The Web connects news gatherers with audiences in ways that were never possible before and can bring a breadth of intelligence, and experiences to understanding the news we never had. And professional reporters and editors still have a unique role to play in triangulating those inputs as well as bringing three other distinct skills - access to interrogate people in power, exceptional storytelling skills, and a discipline of open minded, skeptical inquiry - which are not as likely to be found elsewhere.

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.

I really shine in front of prominently Jewish crowds. Normally I really beat myself up, but as far as Jewish audiences go, I'm at the top of my game.

I'm always aware of who my core audiences are and I serve that niche.

When I was on 'Dallas,' I was known to audiences of the '80s. And then when my sons, who are in their 30s now, were going to college, 'Dallas' was the cult thing to watch because it was being done on the soap channels, so a whole new generation saw it. And then I have the young fans that knew me from 'Step By Step' in the '90s.

We've played two shows with seated audiences, and two with a standing audience. Both were cool. Sitting is more mental, in a way, [but] after a while they really want to get up and move. It's very euphoric, I think, because people see what's actually going on. The energy takes over.

Costumes and scenery alone will not attract audiences.

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

Actors are as anxious about the state of audiences as aviators are over weather conditions.

In the many times I have seen Hillary [Clinton] speak, she never fails to dazzle audiences by speaking in paragraphs, without notes.

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!

There was something about being in front of audiences when I was in elementary school plays that gave me a thrill. It was like the rush you get from a roller coaster drop.

You don't always find yourself facing audiences who are smiling the whole time. This is natural. As a speaker it is vital to prepare well and believe in what you have to say. You can't please every person in every crowd, but your message can matter much more than if you were only aiming to entertain.

Audiences don't ever disappoint me, in the sense that movies I feel really good about, they usually feel really good about too.

Dane Cook is one of the most exciting comedy stars to emerge on the scene in many years, and his ability to connect with audiences is truly remarkable. HBO will be able to give this gifted performer the broadest, most unrestricted showcase for his talent, and we're delighted to welcome him to the network.