Quotes About Audiences

I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.

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 love interaction with audiences. If were my choice, I would spend most of my time interacting with audiences. Walking around and asking them to challenge me.

We did two films [Kung Fu Panda], because the first two films were so embraced by the Chinese audiences we wanted to make something we could push further and since this is a co-production, it seemed like the perfect time to create something that felt native to Chinese audiences.

But when I do book signings and personal appearances, the audiences are mostly white. Growing up here, I expected that and understand it. Black audiences won't come out for a white writer for the most part. It really is just a fact of life.

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.

Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.

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.

The great familiar musical works are always greeted by the audiences as ever welcome and beloved friends.

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.

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.

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 love to entertain audiences and this picture does that - it's romantic, it's funny, it's got a nice message and I think it's a gift to the audience to be able to enjoy this movie.

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

I personally have more faith than the average writer in people's willingness to be complicated, and so I'm thrilled by what's happened. I'm elated at audiences' willingness to handle complexity. In some sense, I feel like my belief in what people are capable of is being validated.

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.

I'm really interested in violence. And I think there's an inevitably cinematic property that violence brings to the moviegoing experience. But one still has to be thoughtful and mature about how you depict it and how you think it through. You have to think about the effects that violence has on audiences, and it's deployed so casually that I think it's losing its meaning. And when things like violence and murder and the dehumanization of other people lose their meaning, then we're really kind of in a place where we have to reexamine and take a hard look at ourselves.

Obviously the role of comics is changing very fast. On the one hand, comics are widely accepted and taken seriously. On the other hand, the mass media is disintegrating, and audiences are atomizing. I suspect comics will have less widespread cultural impact and make a lot less money.

There are several key pieces to keeping audiences engaged, and the evolution of that. One of them, mostly importantly really, is to have a brand that has purpose and value.

This movie [Everybody Loves Somebody] is as much for the general market as it is for Latino audiences. That's a really exciting prospect.

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.

I look for every opportunity to mix comedy and horror and tragedy. I love catching audiences off-guard.

We're committed to giving the independent artists we support the best stage to share their mind-blowing work with audiences.

If a show is good, it helps people learn about themselves, in some way and in some function. Whatever the genre is, if it's executed well, audiences grow and learn from it, and that's where their passion and enthusiasm comes from.

I have a complex feeling about genre. I love it, but I hate it at the same time. I have the urge to make audiences thrill with the excitement of a genre, but I also try to betray and destroy the expectations placed on that genre.

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.

So much of the humor on new sitcoms plays to the lowest common denominator. Wit isn't nearly given as much attention as slipping on a banana peel. So much of the writing is so coarse, so obvious that it doesn't provide a shock, never mind a laugh. What makes something funny is alluding to it without laying it out explicitly. You let the audiences fill in the gaps and that's where the laughs come.

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.

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.

And we realized that it was kind of a starting point for gymnastics, to go professional, and also to just get a lot more of the audiences in the arenas on the off years, in the years that we're not in the Olympics.

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

Costumes and scenery alone will not attract audiences.

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 one of the most wonderful things we can do as performers is to remind audiences that they can still relate to the emotions and feelings, as though the music had been written yesterday.

Continuing to do stand-up is always a challenge because the audiences and the environments in which you work very often differ.

I think actors have a greater responsibility when doing comedy. It's as easy as anything to get cheap laughs, but that's not the idea at all. "The slight trip syndrome," we call it. With tragedy one can get away with things a bit more because audiences don't always know how to react.

I just play to progressive audiences. You know, if they're watching Discovery Channel, History Channel, that kind of thing, "Monty Python" have already laid the groundwork. They're known around the world. People like that kind of surrealist, left-field humor, and that's what I do. And "Saturday Night Live," a lot of American humor. "The Simpsons," above all, the weird, left-field humor, which I love. And sardonic. So that's all I'm doing. I find that audience, and they're in every developed country around the world.

For me, writing for younger audiences and writing for adults uses two different halves of my brain.

I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.

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."

I'm taking probably the biggest risk of my career in playing the part in Filth. If you stop taking risks, then you get bored, or you just keep playing the same part, over and over again. Eventually audiences get bored of that, as well.

Gene Wilder characters wanted to be calm, but to the great delight of audiences, they rarely succeeded.

I know how to make an audience laugh, 'cause I grew up on Third Rock from the Sun, week after week in front of audiences, making them laugh.

If you look at my audiences, even in Europe, they're hardly teenagers.

I think everything about it. Just the experience, but mainly performing live for people. I think if it wasn't for playing in front of audiences, I don't think that anyone would want to play music. That's where you get all your gratification. It's just something else to be up on stage, playing music that you wrote and having people enjoy it - and have it mean something to them also.

I don't blame folks for not wanting to put me in their movies or whatever. I understand if their audiences had an association with me.

'The Dark Knight' is a really good movie that reached both critics and mainstream audiences.