Quotes About Audiences

When my work does speak to audiences, when it creates audiences around it, I feel a little less crazy because what that means is that there are folks out there who are interested in thinking about themselves and the world through a prism. The prism is a labor and there can be a pleasure in labor.

When I perform in front of large audiences, I'm much more comfortable, because I've already performed in front of tiny audiences - which is much harder, honestly. The smaller you strip things down, the more you depend on the songs and yourself, as opposed to arrangements.

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.

Dissenting opinions are useful even when they're wrong. So instead of speaking to highly agreeable audiences, target suggestions to people with a history of originality.

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.

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.

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.

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

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

My time on TV has been awesome; between 'Party Of Five' and 'Ghost Whisperer,' I've been severely lucky in great long runs on TV series that were attached to the heart and got into the audiences' hearts.

The good and wonderful thing about my whole career is that I've always felt that the audience, if I do it well, will track wherever I go, whether it's President or a lawyer or bad guy or good. All I have to do is execute the material enough where they buy into it. I've had the great luxury of the audiences accepting that.

I'm at peace with myself. My film just may please audiences. At any rate, it's already a great prize to be part of just 16 films among all of the world cinema out there. I'm tranquil and satisfied.

You have to take the chance to bomb and disappoint audiences.

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.

I love being in space. I love being challenged by great roles that a company like Marvel creates amazing movies that no only give audiences an adventure but also give us as artists an opportunity for us to be challenged to embody amazing, multilayered characters.

I understand why creative people like dark, but American audiences dont like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.

All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.

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.

My mother was electric onstage, and I vividly recall the extraordinary power she had over her 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.

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.

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.

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.

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

New ideas need audiences like flowers need bees. No matter how bright and colorful, they will die unless others work to spread them

I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.

I signed the pledge. I have been very good. I have been very straight and honest and honorable. And they're not treating me well.I have won every debate according to every poll, every single online poll after the debate. But way they stack the audiences, the way they talk, they have this lightweight Senator Marco Rubio saying terrible things, just personal, terrible things.

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!

I've always been lucky enough to have great audiences. It has been quite a life.

I think that will be a lot of fun for audiences to get the same stream of consciousness that was going through my head at the time. It was very exciting to suddenly recall what I was feeling at the time.

Some audiences can shake and bang their heads on the stage to riffs all night long, but subtlety is an art that must be mastered if you're going to be remembered.

Luckily for his audiences, Bennett doesn't tire of singing I Left My Heart. ... that song made me a world citizen. And when I do it, it always feels like the first time.

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.

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

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.

We don't play to be seen. I'm addicted to music, not audiences.

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

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

The fact is that Hollywood, from as early as the sixties to the present time, has ghettoized cinema into the big industry, a marketing industry. In doing this, the audiences have lost touch with the aspects of film which were to be informative and educational and even spiritual.

Audiences can be very judgmental.

When I was on 'Dallas,' I was known to audiences of the '80s. And then when my sons, who are in their 30s now, were going to college, 'Dallas' was the cult thing to watch because it was being done on the soap channels, so a whole new generation saw it. And then I have the young fans that knew me from 'Step By Step' in the '90s.

I still love it, every day. I get up and I love going to work. I love seeing it all happen, and I admire the people that we work with. I just hope that the films will continue to entertain audiences, as they have done for 50 years.

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.

I have found that children are the most open-minded of all my audiences. They are not set in their ways. They are open to ideas.

I want to do what I want when I want to do it not be dictated to by audiences.

So that, to me, is important that audiences are treated with an amount of respect toward their intelligence. Most Hollywood films don't respect their intelligence.

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