Quotes About Audiences

Well, the coffeehouse audiences never know what they're going to get, and all the comics are different, as opposed to when you go to a club, and they're pretty much all telling jokes with set-ups and punchlines. Coffeehouse audiences are the most forgiving: They really listen, which is the best part.

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.

American audiences are just the same as any other audiences. Except a bit more boring.

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.

If you're in a successful play and the play is working well - I mean successful because the audiences like it, the audiences respond well - it's a pleasure.

I want to use film to tell stories that need to be told to spark discussions that will lead to change. I really want to see a change in the mindset of youth, how they see themselves and how they value life. Young audiences will be able to see themselves in this film and older audiences will gain an understanding of what their kids are dealing with on a daily basis. Kids discuss what they see on TV, social media, film so I want to create content that they will discuss and will change the way they think.

The audiences are really different in general. Even in the same country or in the same city, from one venue to another, the audiences can be totally different.

I have spoken to expert audiences occasionally, but then no audience is expert over the whole range of things I want to explore.

Instead of three networks you have three hundred or three thousand. Audiences are inundated with programming, and that sometimes gives them a sense of petulant entitlement.

The audiences are what keep me enthusiastic.

He was resentful against all those in authority over him, and this, combined with a lazy indifference toward his work, exasperated every master in school. He grew discouraged and imagined himself a pariah; took to sulking in corners and reading after lights. With a dread of being alone he attached a few friends, but since they were not among the elite of the school, he used them simply as mirrors of himself, audiences before which he might do that posing absolutely essential to him. He was unbearably lonely, desperately unhappy.

I'm lucky to have worked in theater all over the world, but there's something magical about Broadway. The audiences are smart, they're educated. They go in ready and they're up for it, they're up for the party. It's a whole different atmosphere.

As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.

Audiences are so much more sophisticated than they've ever been. They expect a lot more. I don't think because it's an hour of your Thursday night rather than an hour and a half of your weekend that you should be gypped at all in quality.

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.

Excellent flatterers welcome attentive audiences; mighty potentates enjoy public praise. In the most pleasing situation, a flatterer would genuinely admire the flatteree, please that person, please other present company, be pleased to stagger rivals, and get something out of it: applause, promotion, a favor, reciprocal praise. Flattery is as social as a banquet.

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.

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.

If you look at the big entertainment industry and their pursuit of the bottom line profits in exchange for producing content and distributing that content and marketing that content to inappropriate audiences, that's a problem for me.

The media industry grows more complex every day as technology fuels changes in how audiences consume entertainment. World Screen magazine is an essential resource, consistently providing keen insight into the players and latest developments in both established and emerging media markets around the globe.

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

Audiences just naturally hate me on screen. I could play a role in a tuxedo and people would think I was rotten. You can do much more with a villain part.

Some of our most powerful works of art have been produced by older Americans-by hands that have engaged in years of hard work, eyes that have witnessed decades of change, and hearts that have felt a lifetime of emotions. Our whole society benefits when older Americans use their talents and experiences to become involved in the arts as creators, teachers, mentors, volunteers, and audiences.

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.

At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.

It's a terrible thing to make films that are never seen or experienced by audiences. Often times nobody knows about them, even though they are great films. They are not promoted and that's really sad.

I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.

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.

I've always seen myself as one of those 'show people.' My earliest memories are wanting and needing to entertain people, like a gypsy traveler who goes from place to place, city to city, performing for audiences and reaching people.

Big players want to play in front of big audiences.

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.

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 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.

Cinemas gained new young audiences who wanted films made for 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.

The point of view foreigners will have of the film The Conquest isn't the same as the French public. What will interest American and international audiences is the love story between Nicolas and Cecelia that's a metaphor of today's occidental couple, namely the women in the shadows who carry their husbands into the spotlight, but the man is so absorbed with work so the woman leaves him for another man.

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

Our audience, it has been a more difficult process for classical music audiences around the world, and I'm not completely certain why.

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.

So anyway, I really enjoyed the European audiences.

I make movies that audiences like, that I'd want to see. That's all.

People had been so attached to the Diane [Cheers] character that audiences and producers found it difficult to think of me in any other terms. It took some time before people would consider me for other parts.

I love watching audiences scream. I imagine it's the same joy that a director feels who has made a comedy when he or she is sitting at the back of a theater listening to the audience laugh. That sound of laughter is so sweet to a comedy director and that's exactly how a horror film feels when you hear the audience scream.

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.

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.

In day-to-day commerce, television is not so much interested in the business of communications as in the business of delivering audiences to advertisers. People are the merchandise, not the shows. The shows are merely the bait.