Quotes About Audiences

I think the painted backgrounds in animations are absolutely stunningly beautiful. There's something really special about this medium. I don't believe audiences have grown past it. I think what audiences love is to be entertained-thoroughly, deeply entertained, and that's what I've always set out to do.

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.

I look for the essence of a story and a human angle that I think audiences can relate to. I also look at how the dialogues flow in the film as a whole and between the characters, and most importantly I always consider what I can bring to the character from a creative point of view.

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

People do still cheer for the President. And some of the military audiences are more likely to cheer than others. I have seen him speak lately in front of groups like Freedom House, where the applause was a long time coming.

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.

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.

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.

We have to find new ways to work without permission, new ways to turn corners and go through doors that are closed off to us to create our own audiences and our own material independently.

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.

It's a Samurai story [47 ronin], so if we change too much Japanese audiences will have strong against feelings to the film. It's not good.

86% of its audience was made up of people of color. That tells you that the full potential of many black stars won't be realized until their audiences are fully integrated.

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.

Audiences know what to expect, and that is all that they are prepared to believe in.

I write on sacred stories, symbols and rituals of all cultures - European, American and Chinese - but my audiences, typically, like me to focus on India.

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.

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.

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

I guess any movie actor can become a role model for audiences out there who enjoy him.

After each performance of an Austin Shakespeare production, audiences are invited to stay for a ten-minute discussion of the work. And this tradition continues in our New York run.

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.

Onstage I have a natural chutzpa that audiences like. I'm out there.

Audiences can be very judgmental.

Costumes and scenery alone will not attract audiences.

I would say, while I think audiences are savvy enough, I think that the effects work in the teaser is quite a bit more than presentable. I think they look good and representative of the film. The harder thing with the teaser, interestingly enough is, how much to show.

I'm interested in the theater because I'm interested in communication with audiences. Otherwise I would be in concert music.

It's been interesting to see how similar audiences in the East and West are, actually, and how it makes you realize that when politicians emphasize the differences between our cultures, it's usually because it benefits them more so than us.

There was something about being in front of audiences when I was in elementary school plays that gave me a thrill. It was like the rush you get from a roller coaster drop.

Audiences don't ever disappoint me, in the sense that movies I feel really good about, they usually feel really good about too.

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 found out a long time ago that if I didn't have a good story for a song, I could just make one up! Now it seems over half the stories in my show are made up. The funny thing is, those seem to be the ones that resonate the most with the audiences.

What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.

What is it that we in the theatre give? Instead of images on canvas or in the form of statuary or music, we give our body, voice, feelings, will, imagination — we give a form of pulsating art to life itself; we give it to our characters and we give it to our audiences. Nothing, absolutely nothing remains for us save the pleasure of having given pleasure.

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.

You could say I'd rewritten the same novel three times and I thought I had to move on. The success of the book, and then the movie, had by then also created a commercial expectation and I remember touring America and seeing people in the audiences who I thought might not want to read the books I wanted to write next. My constituency had become broader, but more mysterious to me.

Contemporary audiences, other than those making a deliberate historical leap, would find, say, the 1931 'Dracula' impossibly slow.

Audiences believe what you believe. It's a matter of believing yourself. If I believe me, then you've got no choice. None at all.

I like working with directors because I'm really opinionated about what things work and may not work, what audiences like and may not like, (not really) but I do have opinions about things. I like to be able to say them and then have them acted on. The director who responds to me like that, always gets my appreciation. I do appreciate it. What I find is the best directors, no matter what kind of name they have, are like that.

All the history of the stage is a struggle, the gasping of a beautiful child born at the point of death. The moralists, censorship and oppression, technology, and now poverty have all tried to destroy her. Only we, the actors and audiences, have kept her alive.

Theater will never, and never has, gotten audiences like film. But theater goes to work on society in a different and more subversive way.

Being an artist, it's always tempting to measure success through other people's eyes, be they critics, journalists or audiences.

I'm always very interested in playing in front of different kinds of audiences. It always affects the way you play.

The relationship between the media owner, their relationship isn't strictly with people and audiences. It's also with advertisers, and that's the most relationship in radio; in fact it pays the bills.

Clearly, one does not have to give up being an academic, retreat from rigorous research, or renounce the importance of specialization in order to address major social issues. I don't think you give up theoretical rigor by writing in a way that addresses major social concerns and is at the same time accessible to wider informed general audiences.

I think that we're moving into this new phase of television where audiences are really embracing stories with a beginning, middle, and end.

Cinema is changing every week, and multiplex audiences are demanding every week.

Documentaries are a powerful and effective way of bridging the gap between worlds, breaking through to new audiences that wouldn't otherwise be engaged - in essence, not preaching to the choir.

The cinema is little more than a fad. It's canned drama. What audiences really want to see is flesh and blood on the stage.