Quotes About Audiences

If you're in a successful play and the play is working well - I mean successful because the audiences like it, the audiences respond well - it's a pleasure.

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.

Audiences are audiences.

You need something that no one else is using. And something that is clean enough to play around audiences.

Audiences want to see them, and in fact, they earn money. The world is round, people.

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

Audiences and, to a large extent, critics who want less from theater than it is possible for it to give. If everybody's encouraged to want less, you'll end up with less.

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.

Certain audiences get the double meaning and some of the references and ironies, but there's definitely been shows where I feel like I'm not doing it well enough for it to come across as anything other than "oh, she's hot and she's dancing."

ِِِِِِِِِِArt house theaters are vanishing. They have almost disappeared completely, and that means there's a shift in what audiences want to see. And they have to be aware of that and be realistic. It's as simple as that.

Audiences are the same all over the world, and if you entertain them, they'll respond.

The States still has the best audiences by far.

It's truly gratifying to see my films reach beyond a familiar public, to get a chance to move new audiences. It's nuts. It's extraordinary.

It's a Samurai story [47 ronin], so if we change too much Japanese audiences will have strong against feelings to the film. It's not good.

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.

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.

The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually.

English audiences of working people are like an instrument that responds to the player. Thought ripples up and down them, and if in some heart the speaker strikes a dissonance there is a swift answer. Always the voice speaks from gallery or pit, the terrible voice which detaches itself in every English crowd, full of caustic wit, full of irony or, maybe, approval.

Some writers take to drink, others take to audiences.

Though I am still very vulnerable to audiences—and it happens all the time - where for some reason the energy doesn’t connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

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

I don't really think that audiences are that much different. I think that a fan is the same whether you are from here or from Japan - you come to a show because you like the music. I don't really see much of a difference anywhere.

If my films do well or not, I am glad that the audiences appreciate my performance.

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.

I guess any movie actor can become a role model for audiences out there who enjoy him.

Audiences will get just as tired of people wrestling on a bed as they did of Tom Mix kissing his horse.

Unfortunately, I think I'm going to be typecast in Hollywood as the kid who can cry. I don't like putting audiences through those emotional ups and downs. I don't want people to think Dana Hill is so depressing all she does is cry. But the parts are so good, I can't turn them down.

You think about taking audiences on a journey.

So anyway, I really enjoyed the European audiences.

You hear again and again that audiences want to see movies that are different and critics say we [directors] make the same thing again and again in Hollywood, then you go and make something different and you get kicked in the gut for it.

Media is very different from financial services. People are very fickle and very vocal. They believe that things should be one way and not the other. It's still very rewarding to build products for huge audiences. It feels like you're making an impact.

There are several key pieces to keeping audiences engaged, and the evolution of that. One of them is a content ecosystem, which is leveraging and utilizing as many different platforms as you possibly can to continue to drive the conversation so people have the opportunity to enter your brand from different ways.

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

I want to do what I want when I want to do it not be dictated to by audiences.

For four years, we didn't do any 'Halloweens,' ... But I believed in it. It's not a genius creation or anything. But whenever Halloween season comes around audiences want something like this.

Theatre audiences can't be made to think and cry: at best, they can be made to think and laugh, or to feel and cry.

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 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.

Audiences respond in entirely different ways. One thing is unanimous - music binds us altogether.

Early on I was a lot more unsure of myself on stage. When our band The Decemberists was getting bigger audiences I was more concerned about alienating them, so I wasn't as willing to take risks and do weird stuff on stage. But once you get more accustomed to it you tend to have more fun with it and not worry about being pilloried for acting out. Whenever you play in front of 400 or 500 more people than you're used to it's always a weird, transitional period.

I worked at NBC and MTV for two years, and it was very interesting to see the comparisons of audiences and the way that I would have to present a story to the two different places.

When I was a kid, I remember the first Batman, the first Superman comic books when they came out, thinking how great that was and wouldn't it be great to see a movie like that. They did some cheap serials, but they're not the same as today. But I think younger audiences would like to see a real hero also.

American audiences are affected by what the English people think.

I was in Iraq, Afghanistan, Djibouti, Bahrain. The first year I went pretty much by myself. Then I went with General [Richard] Myers, head of the Joint Chiefs of Staff. The shows and audiences were amazing. You'll never get a better group of people.

Audiences may be stupid, but they are never wrong.

If there's anything to be said in a broad way about different audiences it's that I live in a major city, and those themes of isolation, protectiveness, loneliness tend to resonate with other people in major cities. In a sleepier village, where people are married with their children, me standing up and saying, "This marriage idea is a funny old convention that we invented" - various things that are deconstructions of the norms of a culture - if people have already made decisions like that, they're more inclined to say "Please, stop talking about our marriages, 'cause we're here now."

I don't blame folks for not wanting to put me in their movies or whatever. I understand if their audiences had an association with me.

TV is such a success nowadays because it gives back in a way that features can't. If you go to a film, you only get two hours of great storytellers and performers, and you pay top dollar for that. If you're subscribing to premium channels and you're getting all of these amazing TV shows, and you're watching them as you want, where you want, when you want, on what you want, I think that is the "the golden era of TV" in what television shows are offering to audiences. We're giving them a lot more. It's quality.