Quotes About Audiences

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.

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 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.

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.

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.

If you address yourself to an audience, you accept at the outset the basic premises that unite the audience. You put on the audience, repeating cliches familiar to it. But artists don't address themselves to audiences; they create audiences. The artist talks to himself out loud. If what he has to say is significant, others hear & are affected.

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

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.

American audiences don't react in the same way as European ones to African music because, I think, Europeans listen to this music through all the festivals that exist here.

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.

Singing is my passion, my first love and the secret of my energy. Music to me is like finding my inner self, my soul. It gives me a great joy to see audiences enjoying with me. I have given my heart to singing. When I sing, I can feel romance in everything around me.

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

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

One of the benefits of playing to small audiences in small clubs for a few years is that you're allowed to fail.

There are two kinds of audiences. There's the ones who were in the theaters, and the ones who are outside and we want them to come inside the theater. And, it's not the same.

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.

Writers in the nineteenth century - people like George Eliot and Flaubert - were accustomed to addressing particular communities with which they shared not only linguistic meanings but also an experience and history. Those communities have progressively split in the twentieth century, and grown more heterogeneous, and writers emerging from minority communities have found themselves addressing audiences closer to their experience and history - a phenomenon derided by conservative white men as identity politics and multiculturalism in the arts.

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.

And lot of Asian audiences and reporters don't like me to act as a bad guy. But I think I want to become an actor, I want to try different way.

Broadcast TV is still the mothership and it will be for the foreseeable future. Audiences may be declining slightly but revenues are going up and profits are going up.

One of my favorite things about animation is that the boundaries are as limitless as our imaginations. If we can dream it, we can make it. And if we do it well, audiences will believe it wholeheartedly.

Whenever you think you're writing what other people want to hear from you, and that it'll be commercial, you're doomed to disaster. Writing has to be as truthful and specific as we can make it. The minute we think that we're reaching more people and pleasing them, we get general. And audiences sense that and turn away, shun us.

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.

It's to a writer's advantage to contain within himself elements of each sex, or any sex. It's to his advantage because it makes him able to write from the female point of view as well as the male. In some cases, of course, you will find some homosexual writers who can only write from a f - - -'s point of view. But I don't regard myself as a f - - -! Some people may. Also audiences wanted escapism. They don't like too much protest or criticism of their way of life.

English audiences of working people are like an instrument that responds to the player. Thought ripples up and down them, and if in some heart the speaker strikes a dissonance there is a swift answer. Always the voice speaks from gallery or pit, the terrible voice which detaches itself in every English crowd, full of caustic wit, full of irony or, maybe, approval.

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

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.

You've got audiences cheering at the prospect of somebody dying because they don't have health care and booing a service member in Iraq because they're gay. That's not reflective of who we are.

If my films do well or not, I am glad that the audiences appreciate my performance.

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.

Every time I've done comedy in, like, traditional comedy clubs, there's always these comedians that do really well with audiences but that the other comedians hate because they're just, you know, doing kind of cheap stuff like dancing around or doing, like, very kind of base sex humor a lot, and stuff like that.

I feel that audiences are very sophisticated, and part of my challenge is to keep them engaged because they are so complex.

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

You know, the hard thing about audiences not liking what a character does is that they sometimes take it out on the actor personally. That's something that you know when you become an actor or actress, but it's always hard to deal with when it actually happens.

I think initially, our audiences were filled with young men. You know, our initial audience was a lot of young guys who I think were trying to - who you played a bit of a big brother role for and were trying to sort out a lot of the same things right - soon as "Born To Run" hit, you know? So it was something that I worked pretty hard on.

I think accessibility is what often denies horror its deserved attention. So it all depends on the execution and whether mainstream audiences can accept it.

The thing I do, really, is a communication with audiences more than any achievement through records.

I now have two different audiences. There's the one that has been watching my action films for 20 years, and the American family audience. American jokes, less fighting.

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.

I love audiences, but they're not there to drive the bus. Whenever you ask opinions or anticipate opinions you can get pretty terrible art, or non-art. You need a single guiding intelligence, even in a collaborative form.

When I was a kid, I remember the first Batman, the first Superman comic books when they came out, thinking how great that was and wouldn't it be great to see a movie like that. They did some cheap serials, but they're not the same as today. But I think younger audiences would like to see a real hero also.

To get audiences to go see a film is a completely separate issue.

We are in the transport business. We transport audiences from one place to another.

Women perform great in the box office. Audiences want to see lead female characters.

Older audiences are hard to win over. They're very specific in their tastes and critical of new music.

America has begun a spiritual reawakening. Faith and hope are being restored. Americans are turning back to God. Church attendance is up. Audiences for religious books and broadcasts are growing. And I do believe that he has begun to heal our blessed land.