Quotes About Audiences

There's a forgiveness that literary audiences will give you that film audiences don't give you. It's the two hour construct. You're in there and it needs to climax and finish.

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.

That's what I love about Michael Douglas' performance in Wonder Boys, because I feel like he surprises audiences that know him from very different roles in his other work.

Audiences want to see them, and in fact, they earn money. The world is round, people.

'Hoop Dreams' brought us back to our roots in veríté filmmaking. What we saw in the powerful emotional scenes within it - at nearly three hours long and with no star power - was an outreach to a different and more important audiences. There were the similarly involved folks who saw it that were part of the struggle, but there was also a new audience that weren't empathetic or sympathetic to the people we were portraying. They would never watch a film about inner city families, but they watched 'Hoop Dreams.'

A lot of times, when you're acting, you have to explain things to the audience, and it's boring work to do that. It's really hard to make that interesting. I like the discovery of characters. I think people are smart. Audiences are intelligent and can figure things out by just watching behaviors.

The quality of CGI, audiences are now so used to it. They don't know what is CGI and what is real.

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.

I became known for surprising audiences. Except now, if I surprise them every time, they expect that.

A period romance film with elements of horror. That was successful, because I feel like Coppola's DRACULA was one or the other. You know? It was never scary it was never a film he got invested in the romance of the characters. He understood it, but he never got invested. So it as a challenge for me to see if I could do that, I still don't know how audiences will sort of react to that.

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 have to take the chance to bomb and disappoint audiences.

I split it up into working on the two narrative pieces that can tell a story. The scariest thing was whether I'd be any good performing live again. It was such a long time since I'd done any live work. It's so different for me than recording. Every night my audiences were what I would dream of. You could just feel their support.

I love playing the CMA Music Festival each year because it's one of the very best audiences you could hope for. It's one of the places you can perform where you know everyone there is a big Country Music fan.

I often joke with my audiences that I make most of my income on a ski pole. People smile but they get my point. You need to make time for your genius to flow. We get our creative bursts, those idea torrents that take our business and personal lives to the next level, while we are skiing or drinking coffee in a Starbucks or walking in the woods or meditation with a sunrise. Those pursuits are not a waste of time. Creativity comes when you are relaxed, happy and enjoying the moment. And when it comes, it brings ideas that rock your world.

I think you've got to take the risks. There's no point playing it safe, because either you'll get bored or the audiences will get bored. Sometimes, you're going to make mistakes, and that's fine, but you have to take the risks. I think Pirates is one of the prime examples of that with Johnny Depp's performance, and part of the reason that people love it so much is that you watch it and go, "Gutsy, really gutsy!"

To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with 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.

The matinee audiences are different because they're mostly kids, a great percentage kids. So they respond to everything differently, but I understand what they do respond to.

I think jazz was just seeking respect and validity because a lot of people didn't believe it was a viable art form, and then they got a lot of attention in Europe. A lot of bands that can't catch flies in the US have these followings in Europe, [but] it's less and less the case. American audiences are way more sophisticated and adventurous than anyone thinks that they are.

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.

White folks are the luckiest people: Finally a black president and he's a behaved one. Went to the best schools, best colleges, never raises his voice. I ran for president in 1968. I tell (audiences) if I won, I would have dug up the Rose Garden and planted watermelon!

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 saw Danny Kaye in a movie, and he was doing voices and faces on that big, big screen and making whole audiences laugh. It was just an instant hookup.

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.

I've never worried about what audiences would accept or had a game plan regarding the career. I never had an idea of how I should look to my fans or anybody else.

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 did a couple comedies to balance myself as an actor and balance how audiences see Donnie Yen as an actor, and I would even say as a celebrity or icon, to some fans. I want to show that I'm not Terminator.

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.

Christopher Reeve did such an amazing job that to give him some kind of accent or more bravado would have been wrong. Audiences wouldn't have responded to that either.

Lots will get on the mic and tell huge audiences to pray for world peace. And there's a scientific study that shows when everyone prays for peace, whole war zones on the planet actually cease fighting for that day!

Good information architecture enables people to find and do what they came for. Great information architecture takes find out of the equation: the site behaves as the visitor expects. Poor or missing information architecture neuters content, design, and programming and devalues the site for its owners as well as the audience it was created to serve. It’s like a film with no director. The actors may be good, the sets may be lovely, but audiences will leave soon after the opening credits.

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.

Audiences like to see the bad guys get their comeuppance.

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.

You would give up your career if you lost your voice for good, or if the impresarios stopped calling, or the audiences stopped coming. But as long as those things are there, I don't plan to stop. There is nothing that makes me feel better than to be with my public.

I came out of film school and went after movies that I thought audiences wanted to see or that the studios wanted, as opposed to the movies that I wanted. Over the last 10 years, I've gravitated more and more toward the films that I grew up loving - classic Spielberg, Lucas, James Cameron and Ridley Scott movies.

I have worked for YouTube like texting and driving because I was curious to test what's out there and how does it function, can I release something like about texting and driving to very young audiences, at the age where they do their drivers test? And the response was phenomenal, millions of people saw it.

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.

Everybody that you could name would join in our audiences from, Laguardia on down. Everybody came. Everybody came to the Cotton Club.

I think audiences have hit the wall with CGI and special effects. They have seen so many over-the-top events that they can't suspend disbelief.

We get paid in flesh. Our audiences are sluts and whores, each and every one.

Actors are as anxious about the state of audiences as aviators are over weather conditions.

Most of us are flawed, complicated people, and we're all trying very hard to disguise that or hide it from the public. Ultimately, we respond to someone who's capable of doing heroic things but has issues or problems in their life that they can't seem to resolve. I believe audiences identify with that. All of us have those secrets and those things that we wish we could improve about ourselves. And when you have someone who's heroic and flawed, I think it makes us feel better about ourselves.

Horror audiences don't need to see some TV actor they're familiar with.

It's a tough time for screenwriters right now, because fewer movies are getting made. I'm enjoying television so much. It offers opportunities for writers to be in a writers' room and work their way up. It's somewhat easier because there's more of a community. There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.

I want audiences to look at adolescent delinquents with greater understanding and more compassion.