Quotes About Audiences

I detest audiences - not in their individual components, but en masse I detest audiences. I think they're a force of evil. It seems to me rule of mob law.

Diverse audiences can be just as misled as homogenous audiences.

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.

There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.

If you create a good story that has a lot of story value I think audiences like that. It's why they stick with the same TV show over and over.

My mother was a children's librarian. I remember when traditional stories were revised for modern audiences until they bore only a nodding acquaintance with the originals, but were released as 'authentic Indian stories' when they were, in fact, nothing of the kind.

Inviting audiences to open up and hear things differently is an important part of what I do. But I still love to sing songs with words, too.

I would like to play for audiences who are not using my music to stimulate their sex organs.

The audiences are what keep me enthusiastic.

I think audiences deserve the benefit of the doubt. I prefer to be surprised by them rather then just assume they'll react negatively to any new idea.

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.

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.

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.

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.

Audiences tend to get the performances they deserve.

With stand-up you've just got that one chance. Audiences can be quite fickle.

What I love about the 'Alien' franchise is I would do all kinds of films - dramas, comedies, whatever - and every now and then I'd be in this science fiction blockbuster that would re-introduce the character and me to a lot of audiences around the world and allow me to go back and do the smaller films again, so it was really a good balance for me.

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.

No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.

I left the golden age of documentaries to go into the golden days of the 'CBS Evening News.' You could see that the audiences were eroding.

The critic is the duenna in the passionate affair between playwrights, actors and audiences - a figure dreaded, and occasionally comic, but never welcome, never loved.

Barack Obama's a politician, I'm a pastor. We speak to two different audiences.

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.

There are always new things to experience, internalize then write about. This process is ongoing with me. It never stops. The opportunity to reach new audiences with all of the music that we have made is thrilling.

Audiences are always better pleased with a smart retort, some joke or epigram, than with any amount of reasoning.

[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.

Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.

There's nothing better than being in a film that translates to audiences and makes people think and feel good and walk away with great revelations in their own life of some kind. But when the process and the experience and the fun of that matches, it's a good feeling.

Douglas Adams did not enjoy writing, and he enjoyed it less as time went on. He was a bestselling, acclaimed, and much-loved novelist who had not set out to be a novelist, and who took little joy in the process of crafting novels. He loved talking to audiences. He liked writing screenplays. He liked being at the cutting edge of technology and inventing

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.

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

A lot of television tends to assume that audiences don't have the attention span or the IQ to follow a lot of stuff.

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

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.

I think that if an audience is truly appreciative of a performance, they will show it. Sometimes though, there are little differences, and there are audiences that are very reserved even though they are enjoying the show.

I think of my shows as family reunions. I give 100% every time. I just do. It's a huge therapeutic release. Also I love my touring family. And I love my audiences very much.

I really like writing from real-life experiences. Audiences seem to prefer the stuff I couldn't have made up.

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.

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.

I don't really think that audiences are that much different. I think that a fan is the same whether you are from here or from Japan - you come to a show because you like the music. I don't really see much of a difference anywhere.

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.

I like live audiences, with real people - virtual reality is no substitute.

We try to keep it a classy show, but it certainly is blue at times. And it all depends on the audience, sometimes we've have audiences that don't really want us to go too far in that direction.

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.

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.

Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.

Audiences will get just as tired of people wrestling on a bed as they did of Tom Mix kissing his horse.