Quotes About Audiences

You learn quite a bit about your film from test screening audiences. With both comedies and movies that are intense, you need to calibrate the film and see how audiences react.

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.

I have often felt that I cheated my children a little. I was never so totally theirs as most mothers are. I gave to audiences whatbelonged to my children, got back from audiences the love my children longed to give me.

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.

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.

I love audiences. My God, the best friends in the world!

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.

Great communicators leave their audiences with great clarity.

I'm finding myself very comfortable talking to medical audiences, and proving to them that underlying the material fields of the universe are force fields.

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.

Live audiences love me because I'm singing and actually am able to f**k with people live over the mic.

No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.

Audiences can tell when you're being fake and they will eat you alive. But if you're doing something authentic they will connect to it and that can lead to commercial success.

Audiences will see what they want to see. Some will come out, hopefully enjoying two hours of action. Some people will find themselves gravitating towards the emotional dilemma that the characters find themselves in. Other people will see that there is some layer of subversions to the storytelling aspect of poking a finger of judgment at certain governments to the idea of foreign invasion, others maybe false pretenses.

I hope that audiences respond really positively. I think it's a very intense, entertaining film [The Last King of Scotland], because you're brought in on a fun ride, and slowly you fall into it as James [actor James McAvoy's character, Dr. Nicholas Garrigan] does. Nicholas is like the audience. I think it's a good ride for people. And you learn something, as well.

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.

The solo years have been more meaningful to the audiences than the Smiths years, but the press in England only write about me in relation to the Smiths era.

Folklore is always changing and evolving for new audiences.

Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.

Audiences are harder to please if you're just giving them effects, but they're easy to please if it's a good story.

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

...I do like the low frequencies. It's from years and years of observing audiences when they hear a lower frequency coming from an instrument it tends to pull them in. You have to listen a little more attentively. High frequency instruments hit you so hard, after a while the ear has a tendency to want to shut down. And that's what happens. I've been able to observe very carefully how people tend to get very tired of listening to high frequencies a lot.

Black audiences are hard. They always think they're better than you. So you got to come with a little extra to satisfy them.

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.

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.

I think that American audiences are more used to following one character.

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.

I am deeply honored that my team is being recognized by H.S.H. Prince Albert II and the Festival de Television de Monte-Carlo for Disney/ABC's role in creating television that inspires and captivates audiences wherever they live.

Internationally, ancient Rome and Greece cultures are just so fascinating. I don't think audiences will ever tire of it, because it's such an advanced society.

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.

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

I think the Harry Potter movies are proof that audiences love that stuff. They love the idea of magical objects and they like learning the rules of those objects and what they do.

Audiences looking for a rich, textured, cinematic experience will be put off and disconcerted by an image that looks more like an advanced version of high definition television than a traditional movie.

Socialization would be the most successful thing to bring mainstream audiences to online computers.

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 still make music. I still write music and I record music, I just don't trust music promotion [and] distribution right now enough to record a new set of diligently worked-upon compositions. I do trust the audience and the audiences very much.

I want to show audiences I can act.

When critics or people judge, I think it's harder to make a commercial, pop movie than it is to make a pretentious art film. It's harder to reach millions of people and satisfy them and make them happy. These films kind of get ghettoized, this genre because there are so many big, big movies that are such big hits, but aren't any good. The audiences, they're not judging the style of the director, or the execution of the film. They're just looking to be entertained. They want to escape from their reality, and that's why we make movies, to get people to escape from the realities.

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

I try to be straight when I communicate with my audiences through a film. I'm not sure whether I have been successful. I don't watch my film once they're in theaters.

For certain things, certain audiences, people will laugh. And in other places, there's dead silence. And I enjoy them both. You try to make films where it's never one way - like life.

Gene Wilder characters wanted to be calm, but to the great delight of audiences, they rarely succeeded.

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.

You make a movie to entertain audiences. That's why you make a movie. The product sales is because people love the characters, and to me, that is a testament to how our movie has become so ingrained in family's homes all around the world and that's why I make movies.

DREAM PREDICTION ELITE is the realization of true amazement in your audiences reactions. This is PURE GOLD - A REAL WINNER

When I began to think deeply about the metaphysics of love I talked with everyone around me about it. I talked to large audiences and even had wee one-on-one conversations with children about the way they think about love. I talked about love in every state, everywhere I traveled.

Consequently, pictures are aimed at certain audiences, whether it be a teen comedy or an action movie or whatever. It's unfortunate, because while it may lead to big opening grosses, a lot of pictures that are a little different and don't fit so neatly into either a niche market or a high-concept marketing approach can get lost in the shuffle. That's one unfortunate thing.