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!"

I live in New York, so I'm used to the audiences that cheer and clap through a play. It is unusual for London audiences.

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.

When we'd suggested doing it, the Theatre Royal management had said, 'Nobody wants to see Waiting for Godot.' As it happened, every single ticket was booked for every single performance, and this confirmation that our judgment was right was sweet. Audiences came to us from all over the world. It was amazing.

Would it be nice to win a film award one day? Yes. But the critics are going to have to wait till I'm ready. Right now, my gift is making big movies that audiences want to see.

I'm finding myself very comfortable talking to medical audiences, and proving to them that underlying the material fields of the universe are force fields.

Every day in this industry is an experience in itself and I try to work hard not to let anyone down. It is a great feeling, but it does come with responsibility towards your colleagues and the audiences

There are a significant number of people who appreciate what we do, and most of them gravitate to Analog because this is where they can find it. The other magazines tend to share their audiences, which may result in each of them having a smaller market share.

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.

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.

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.

I think that when audiences find a movie that they don't expect to like, it adds great word of mouth.

Why would you let [the TV audiences] build a habit of going to the cable networks? So I think they've obviously smartened up now, and they're not giving the summer to cable anymore.

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.

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.

The audiences like to think that satire is doing something. But, in fact, it is mostly to leave themselves satisfied. Satisfied rather than angry, which is what they should be.

There is a business here first of all, as a company and secondly, the ability to make films that audiences want to see and wouldn't get the opportunity to see. It's exciting. That's where our whole thought process originated from.

I think jazz was just seeking respect and validity because a lot of people didn't believe it was a viable art form, and then they got a lot of attention in Europe. A lot of bands that can't catch flies in the US have these followings in Europe, [but] it's less and less the case. American audiences are way more sophisticated and adventurous than anyone thinks that they are.

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

I saw Danny Kaye in a movie, and he was doing voices and faces on that big, big screen and making whole audiences laugh. It was just an instant hookup.

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.

Audiences are very sophisticated and they know the nuts and bolts of the genre - certainly with horror more than others I think. But they attract lots of people, they're much derided as a genre but people go and see them and they're not all dumb. There's some very clever horror films. Stephen King gets a lot of flack for not being a proper writer because he's a horror writer, but I think he writes some brilliant books. I think it's wrong to just bin it before looking at it.

If a studio sees that a female can bring in audiences, then they're going to make movies with that person.

Audiences have kept me alive.

Audiences feel no hatred from me. Because I'm not bitter.

It [moviemaking] is about entertaining audiences with great characters and great stories, you want to make people laugh, you want to make people cry, you want to have great music that is memorable. You want a movie that, as soon as it's over, you want to watch it again, just like that. That's what it is, whether it's live-action, animation, hand drawn, computer, special effects, puppet animation, it doesn't matter. That's the goal of a filmmaker.

I feel like there's an obsession with pace right now in theater, with things being very fast and very witty and very loud, and I think we're all so freaked out about theater keeping audiences interested because everybody's so freaked out about theater becoming irrelevant.

We're starting with our own carbon footprint. Not nothing. But much of what we're doing is already, or soon will be, little more than the standard way of doing business. We can do something that's unique, different from just any other company. We can set an example, and we can reach our audiences. Our audience's carbon footprint is 10,000 times bigger than ours... That's the carbon footprint we want to conquer.

Lots will get on the mic and tell huge audiences to pray for world peace. And there's a scientific study that shows when everyone prays for peace, whole war zones on the planet actually cease fighting for that day!

Though I am still very vulnerable to audiences—and it happens all the time - where for some reason the energy doesn’t connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

If Hollywood is the global producer for [media] products all around the world, that's of concern. If all audiences around the world know of America is what they see from Hollywood, then we're in trouble.

French cinema audiences usually don't express anything. Certainly not satisfaction.

Black audiences are hard. They always think they're better than you. So you got to come with a little extra to satisfy them.

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.

When you start to see things that are well-executed you'll watch a lot of stuff in 3D and see the same scene again in 2D and realize, "Oh, my god, it's like you turned the color off or the sound off." Once you get used to it, I think audiences and the public will want more of it.

People have reacted to the length of "Aquarius" in very positive ways. For example, at the beginning, you have people in a car on the beach at night. One character says, "I'm going to play you this great track." She pushes in a cassette tape, and they listen to about 45 seconds of Queen's "Another One Bites the Dust." You can actually see the pleasure registering on their faces, but it takes time, and audiences have appreciated that.

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.

If something is successful with the audience, it's automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!

I think American audiences are open to people with accents and different nationalities being on the screen.

If it's a low-brow bawdy comedy, it's got to stand the chance of succeeding as such. If it's an intellectual piece, a drama, and so forth. And of course, once you've determined the level of the piece, do it the best you know how. And then don't make concessions. To audiences, or to pursestrings, or whatever.

I think American audiences are quite interesting in that they can handle almost any amount of violence, but the moment the violence becomes sexual violence it immediately becomes an issue.

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

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

Socialization would be the most successful thing to bring mainstream audiences to online computers.

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 have many enemies and they all think I'm being highfalutin calling it performance, but the word "reading" has a connotation of something academic with the lights on and you're going to get a lecture. I'm looking to blow my audiences away by giving a fine, dramatic performance and reminding them of why they love stories.

Anything, even the conceptually most complex material, can be written for general audiences without any dumbing down. Of course you have to explain things carefully. This goes back to Galileo, who wrote his great books as dialogues in Italian, not as treatises in Latin. And to Darwin, who wrote The Origin of Species for general readers. I think a lot of people pick up Darwin's book and assume it must be a popular version of some technical monograph, but there is no technical monograph. That's what he wrote. So what I'm doing is part of a great humanistic tradition.