Quotes About Audiences

I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.

It's a privilege. It's a real honor. It's a challenge. Michael and I always feel we stand on tall shoulders when we make these films. Audiences come to them with a lot of good will because of what's come before. We just try to make the best film we can, each time, and hope that we satisfy the fans. I'm sure, with Skyfall, that we will. I think it's a terrific film. I hope the audiences enjoy it, as much as we've enjoyed making it.

I love interaction with audiences. If were my choice, I would spend most of my time interacting with audiences. Walking around and asking them to challenge me.

If you address yourself to an audience, you accept at the outset the basic premises that unite the audience. You put on the audience, repeating cliches familiar to it. But artists don't address themselves to audiences; they create audiences. The artist talks to himself out loud. If what he has to say is significant, others hear & are affected.

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.

Some audiences might find homosexuality an uncomfortable subject matter, and a character who is a Japanese collaborator is always uncomfortable.

Audiences tend to dig the earlier stuff by any given musician, and the artists themselves always tend to prefer the thing that they're doing now.

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 began coming to Paris in the 1960s when I was told audiences here liked my work. More than 20 of my plays have been produced in Paris, and several have had long runs and have returned in revivals.

I love playing the CMA Music Festival each year because it's one of the very best audiences you could hope for. It's one of the places you can perform where you know everyone there is a big Country Music fan.

I left the golden age of documentaries to go into the golden days of the 'CBS Evening News.' You could see that the audiences were eroding.

The critic is the duenna in the passionate affair between playwrights, actors and audiences - a figure dreaded, and occasionally comic, but never welcome, never loved.

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.

There's nothing better than being in a film that translates to audiences and makes people think and feel good and walk away with great revelations in their own life of some kind. But when the process and the experience and the fun of that matches, it's a good feeling.

Conflict is the basis of drama. I guess that goes back as long as time has existed as far as mankind is concerned, dating back to the Greek tragedies or the Old Testament. And violence is a form of conflict, so whether that's catharsis or whether that has some socially damaging effect on audiences - I suppose that would just depend.

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.

There have been some very extreme hecklers in audiences whose bile was so hateful and so meant that it would be a bit frightening to think that all I'm doing is jokes and yet someone hates me that much.

I've never worried about what audiences would accept or had a game plan regarding the career. I never had an idea of how I should look to my fans or anybody else.

Playing to bigger audiences at festivals got me in the mindset of writing music that I would sing to a crowd.

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

We're starting with our own carbon footprint. Not nothing. But much of what we're doing is already, or soon will be, little more than the standard way of doing business. We can do something that's unique, different from just any other company. We can set an example, and we can reach our audiences. Our audience's carbon footprint is 10,000 times bigger than ours... That's the carbon footprint we want to conquer.

Machines have given us a new ability to count and make our understanding quantitative. The Web connects news gatherers with audiences in ways that were never possible before and can bring a breadth of intelligence, and experiences to understanding the news we never had. And professional reporters and editors still have a unique role to play in triangulating those inputs as well as bringing three other distinct skills - access to interrogate people in power, exceptional storytelling skills, and a discipline of open minded, skeptical inquiry - which are not as likely to be found elsewhere.

Saying you're a pop group isn't saying very much. Personally, when I think of pop, I think of instant, accessible, catchy songs - I definitely identify our music as that. I think that by writing pop, or instant, accessible or hopefully catchy music, it shoes you into bigger audiences because it seems that more people like that music. I think the possibilities are endless if you stick to a simplistic short song; the music can be as wild and bizarre as you want it to be, as long as at the core of it, there's something really strong.

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

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.

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.

And we realized that it was kind of a starting point for gymnastics, to go professional, and also to just get a lot more of the audiences in the arenas on the off years, in the years that we're not in the Olympics.

I'm always aware of who my core audiences are and I serve that niche.

We've played two shows with seated audiences, and two with a standing audience. Both were cool. Sitting is more mental, in a way, [but] after a while they really want to get up and move. It's very euphoric, I think, because people see what's actually going on. The energy takes over.

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.

The BBC's television, radio and online services remain an important part of British culture and the fact the BBC continues to thrive amongst audiences at home and abroad is testament to a professional and dedicated management team who are committed to providing a quality public service.

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.

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

Actors are as anxious about the state of audiences as aviators are over weather conditions.

I'm interested in the theater because I'm interested in communication with audiences. Otherwise I would be in concert music.

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

You don't always find yourself facing audiences who are smiling the whole time. This is natural. As a speaker it is vital to prepare well and believe in what you have to say. You can't please every person in every crowd, but your message can matter much more than if you were only aiming to entertain.

Audiences don't ever disappoint me, in the sense that movies I feel really good about, they usually feel really good about too.

Timothy Spall - best known to mainstream audiences as Wormtail in the Harry Potter series - delivers an Oscar-caliber tour de force reminiscent of Charles Laughton

To have great poets, there must be great audiences.

People don't go to see things in the theater for the same reasons that I do. And movies are about mass audiences. And so moviegoers are going for a different kind of drug than for a certain kind of literary quality.

Anything, even the conceptually most complex material, can be written for general audiences without any dumbing down. Of course you have to explain things carefully. This goes back to Galileo, who wrote his great books as dialogues in Italian, not as treatises in Latin. And to Darwin, who wrote The Origin of Species for general readers. I think a lot of people pick up Darwin's book and assume it must be a popular version of some technical monograph, but there is no technical monograph. That's what he wrote. So what I'm doing is part of a great humanistic tradition.

What is it that we in the theatre give? Instead of images on canvas or in the form of statuary or music, we give our body, voice, feelings, will, imagination — we give a form of pulsating art to life itself; we give it to our characters and we give it to our audiences. Nothing, absolutely nothing remains for us save the pleasure of having given pleasure.

You work hard and you pray, and you do something where you know the energy around the project is right, but you never really know if it's going to hit and resonate with audiences.

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.

If you get into introspective blues or something where you're stretching out a bit, large audiences don't respond to this, so you have to give them what they want, basically.

The major caveat in all of comedy is that it's all instinctive. There's no true criteria. There is no right or wrong. Ultimately, often I'm surprised at what an audience will or will not laugh at. I have to stay very, very open to an audiences first exposure to that material and how they react to it.