Quotes About Audiences

TV can reach broad audiences, mass audiences, niche audiences; it can be local, regional, national; it can be spots, sponsorship, interactive. It can be anything you want it to be. I tend to think of TV as the Swiss Army knife of media, it's got something for everybody.

...the mass media. What are they? They're huge corporations, massive corporations, linked up with even bigger corporations. They sell audiences to other businesses, namely advertisers. So when you turn on the television set, CBS doesn't make any money. They make money from the advertisers. You're the product that they're selling, and the same is true of the daily newspaper. They're huge corporations, selling audiences, potential consumers, to other businesses, all linked up closely to the government, especially the big media. What picture of the world do you expect them to present?

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!"

American audiences are just the same as any other audiences. Except a bit more boring.

Minimalism seems closest to the sophisticated storytelling of movies. Movies have really educated contemporary audiences to be the most intelligent, sophisticated audiences in history. We don't any longer need to have the relationship between one scene and the next explained. We will figure it out ourselves.

I live in New York, so I'm used to the audiences that cheer and clap through a play. It is unusual for London audiences.

I want to use film to tell stories that need to be told to spark discussions that will lead to change. I really want to see a change in the mindset of youth, how they see themselves and how they value life. Young audiences will be able to see themselves in this film and older audiences will gain an understanding of what their kids are dealing with on a daily basis. Kids discuss what they see on TV, social media, film so I want to create content that they will discuss and will change the way they think.

I make American films for American audiences and Asian films for Asian audiences.

Animation, for me, is a wonderful art form. I never understood why the studios wanted to stop making animation. Maybe they felt that the audiences around the world only wanted to watch computer animation. I didn't understand that, because I don't think ever in the history of cinema did the medium of a film make that film entertaining or not. What I've always felt is, what audiences like to watch are really good movies.

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.

If the networks can get audiences to tolerate pop-up promos by the dozens, maybe they'll start selling pop-up commercials, too.

I have spoken to expert audiences occasionally, but then no audience is expert over the whole range of things I want to explore.

We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.

I know two kinds of audiences only--one coughing, and one not coughing.

Audiences, as they get smaller, can intensify their relationship with the product, and so can the creative relationship with the people that you are serving. The good news is that, the more shows there are, the less the conglomerates have to gain by breaking the will of each individual creative.

I think human beings probably resonate with audiences more than bunnies, but who knows?

Different authors write different ways, have different relationships with their audiences, and those are all legitimate.

One of the biggest challenges in the past for me in working on the networks was that audiences have grown accustomed to television being something that keeps you company-background music, something that you have on while you're flipping through a magazine, cooking dinner, talking on the phone, putting the kids to bed.

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.

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.

In a way, this is what the difference is between Hong Kong and Chinese cinema - Chinese cinema was made for their own communities. It was for propaganda. But Hong Kong made films to entertain, and they know how to communicate with international audiences.

We [with Neal Dodson and Corey Moosa] spent a lot of time writing, for lack of a better word, this manifesto about what we wanted to do. We wanted to find work that was relevant socially and that didn't take audiences for granted.

Our film industry as well as the audiences are now open to unconventional pairings and subjects, which has aided my journey greatly.

'Frozen' definitely isn't about a man, but about the relationship between two sisters. At different times in our lives we find ourselves either more connected to or disconnected from the people in our family, and I think audiences will really be able to relate to that.

We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.

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.

Ultimately, what audiences respond to is truth. Even as fantastical as the story can be, and out there, at its core, it's dealing with loss, madness and mortality.

Folklore is always changing and evolving for new audiences.

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.

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.

There are several key pieces to keeping audiences engaged, and the evolution of that. One of them, mostly importantly really, is to have a brand that has purpose and value.

I'm not a popular actor. I don't necessarily want to be famous. I want to be known for great work. I want to be known to surprise audiences.

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

I really enjoy playing America. I like the audiences there. It's the home of a lot of music I grew up with.

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 honestly consider that the greatest gift to me, is the reaction that I get from my work. That is a given which I never, ever take for granted. But to be given that by audiences, individuals, on the street, in the theater, is an extraordinary feeling.

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

Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.

Since the goal of my programs is to show audiences how humor can both help them heal as well as deal with not-so-funny stuff, I decided to discuss the events of the previous week, the pain all of us were feeling, and how humor and some laughter might be beneficial.

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.

Audiences are my best friends. You never tire of talking with your best friends.

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.

We're not like some of those 'Elvis' guys you see in the grocery store, buying their stuff while dressed in a white jump suit, that sort of thing. We love doing what we do, we appreciate and respect our audiences, we have a true love of The Beatles.

We need to take a step back and realize that what happened in the 1950s, when he started his career, is exactly where we are today. Everything goes in a cycle, and right now, distribution is changing. Audiences might be kind of sick of these giant blockbuster movies with all these special effects where blue people are running around and the hero is some non-human entity. These are all great movies, but I think that there's definitely room for new voices to come out.

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.

I make movies that audiences like, that I'd want to see. That's all.

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.