Quotes About Audiences

I'm no expert in what country artists go through or how country audiences would react, but I'll say that the work I did to put myself in Will Lexington's shoes absolutely led me to believe that it would ruin his career. Meanwhile, I was getting lots of supportive messages saying, "Will Lexington should just come out! It's 2015 already, audiences are going to embrace it!"

I can only do it if there's humour, wit, comedy and drama. If you can get audiences laughing and then suddenly turn them to tears... it's a weird way of making a living making people cry, but I think it's very exciting to be able to send audiences on a rollercoaster ride.

An award means a lot to me. It brings happiness along with a kind of fear. It brings fear because the award is the responsibility which audiences have put on us. So a singer winning an award should always try to give best of him to the audiences.

There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.

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 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.

Inviting audiences to open up and hear things differently is an important part of what I do. But I still love to sing songs with words, too.

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.

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.

Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.

Audiences in every medium are becoming far more savvy. No one goes to watch a Tom Cruise movie any more just because it's starring Tom Cruise.

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.

I can personally feel the relief myself in my audiences when I bring up Obama because there was a lot of anti-Obama sentiment out there before the capture of bin Laden.

I have always been a Laugher, disturbing people who are not laughers, upsetting whole audiences at theatres... I laugh, that's all. I love to laugh. Laugher to me is being alive. I have had rotten times, and I have laughed through them. Even in the midst of the very worst times I have laughed.

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.

As professional actors, it's our job to entertain our audiences while setting benchmarks for ourselves as well, creatively and intellectually.

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.

Because audiences all over the world can see an independent film almost anywhere and anytime, these new distribution outlets have opened a door that is revolutionizing the movie-going experience.

Some of our most powerful works of art have been produced by older Americans-by hands that have engaged in years of hard work, eyes that have witnessed decades of change, and hearts that have felt a lifetime of emotions. Our whole society benefits when older Americans use their talents and experiences to become involved in the arts as creators, teachers, mentors, volunteers, and audiences.

Folklore is always changing and evolving for new audiences.

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.

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!

I've always loved animation it's the reason why I do what I do for a living - the films of Walt Disney. This art form is so spectacular and beautiful. And I never quite understood the feeling amongst animation studios that audiences today only wanted to see computer animation. It's never about the medium that a film is made in, it's about the story. It's about how good the movie is.

I feel like there's an obsession with pace right now in theater, with things being very fast and very witty and very loud, and I think we're all so freaked out about theater keeping audiences interested because everybody's so freaked out about theater becoming irrelevant.

You figure out how to create opportunities to make music, and then, if you take care of the music, audiences will come around. They also might leave. What matters is the moment: the moment of making music, with and for and among others, and what that offers to those people in that moment. They might never see me again; they might never learn my name. But it might still be something they carry with them.

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.

Practice, practice, practice in speaking before an audience will tend to remove all fear of audiences, just as practice in swimming will lead to confidence and facility in the water. You must learn to speak by speaking.

I really like writing from real-life experiences. Audiences seem to prefer the stuff I couldn't have made up.

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!

Cinemas gained new young audiences who wanted films made for them.

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.

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.

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

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.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

I think American audiences are open to people with accents and different nationalities being on the screen.

We need new friends; some of us are cannibals who have eaten their old friends up; others must have ever-renewed audiences before whom to re-enact the ideal version of their lives.

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.

What you want is the thing that critics love and audiences love, but that's the hardest thing to do.

I don't like audiences, I prefer my mistakes in private.

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.

We are entering into an age in which visual language is defined by a dialogue between photographers and audiences. This means not just the democratic posting of images but the democratic interpretation of images.

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.

To have great poets, there must be great audiences.

I firmly believe in music being as free as possible. Unlocked. Shared and spread. In order for artists to survive and create, their audiences need to step up and directly support them.

If you check your ego at the door when it comes to comedy, you've got a pretty good shot at making a great movie that you can commit yourself to, you can jump off the proverbial cliff with, and have a great time, and the audiences respond to that.