Quotes About Audiences

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.

You can't make theater happen without actors. The actor is the central ingredient in making theater happen. Audiences may come to theaters to see the work of stage managers, directors and producers, but the only people who can communicate theater magic to audiences, through ideas and emotions, are the actors. They are the only ones who can communicate this by themselves, and if necessary, they can get along without you. But you can't make theater without the actor.

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.

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.

There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.

Audiences are not easily fooled, but they are easily confused.

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.

The audiences are what keep me enthusiastic.

American audiences don't react in the same way as European ones to African music because, I think, Europeans listen to this music through all the festivals that exist here.

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.

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

I have a children's theater background, so I grew up performing for child audiences; it's sort of my specialty. I know the child audience pretty well - or felt like I did because I performed for them so much. I studied a lot about the child audience, about theater. So it was naturally a place that I gravitated to.

[David Milch] had say, "You have to understand that our history of western movies, what we've been doing in westerns since the movies began to talk, you had audiences that would be offended by certain things, and there was a cleaning-up of the way people spoke."

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.

Macbeth is a very popular play with audiences. If you want to sell out a theater, just mount a production of Macbeth. It's a short play, it's an exciting play, it's easy to understand, and it attracts great acting.

If you look at the big entertainment industry and their pursuit of the bottom line profits in exchange for producing content and distributing that content and marketing that content to inappropriate audiences, that's a problem for me.

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.

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

Audiences are always better pleased with a smart retort, some joke or epigram, than with any amount of reasoning.

On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.

At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.

What happens online is you are constantly dealing with invisible 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.

One of my favorite things about animation is that the boundaries are as limitless as our imaginations. If we can dream it, we can make it. And if we do it well, audiences will believe it wholeheartedly.

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.

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

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.

If a studio sees that a female can bring in audiences, then they're going to make movies with that person.

A lot of television tends to assume that audiences don't have the attention span or the IQ to follow a lot of stuff.

French cinema audiences usually don't express anything. Certainly not satisfaction.

I think the role of the artist today is about being provocative. I don't mean shocking, but you have to provoke people into action. As an artist, you ask people for their time. It's the most precious thing anyone has. I'm asking audiences to come to my work and spend some time with it. What I'm really doing, of course, is asking people to take time for themselves.

I look forward to my first visit to Israel. Music is a universal language that is meant to unify audiences in peace and love, and that is the spirit of our show.

Audiences like to see the bad guys get their comeuppance.

Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.

I tell the stories in front of audiences and wait for something to happen. It's similar to a standup comic doing his schtick for an audience.

People have reacted to the length of "Aquarius" in very positive ways. For example, at the beginning, you have people in a car on the beach at night. One character says, "I'm going to play you this great track." She pushes in a cassette tape, and they listen to about 45 seconds of Queen's "Another One Bites the Dust." You can actually see the pleasure registering on their faces, but it takes time, and audiences have appreciated that.

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

Once upon a time fairy tales were told to audiences of young and old alike. It is only in the last century that such tales were deemed fit only for small children, stripped of much of their original complexity, sensuality, and power to frighten and delight.

If it's a low-brow bawdy comedy, it's got to stand the chance of succeeding as such. If it's an intellectual piece, a drama, and so forth. And of course, once you've determined the level of the piece, do it the best you know how. And then don't make concessions. To audiences, or to pursestrings, or whatever.

Continuing to do stand-up is always a challenge because the audiences and the environments in which you work very often differ.

First of all, we have exactly the opposite type of audiences, for obvious reasons. So the competition is not going to be between the movies. I wish Dakota the best, not only because of this movie. I know the expectations of these movies are enormous but we know-every member of the family, brother, sister, real father-that she's a good actress.”

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

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

What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.

I now have two different audiences. There's the one that has been watching my action films for 20 years, and the American family audience. American jokes, less fighting.

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.

The new Bond film, will be a big, big hit, because every Bond film is an event. Fathers take their sons to it; probably grandfathers. It's been a long time, and I think that the success of Bond is because the audiences have never been cheated by the producers. They always spend every penny, put it on the screen, and then the things that people expect to see in a Bond film - big action scenes, glamorous ladies - it's pure escapism.

American audiences are affected by what the English people think.