Quotes About Audiences

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.

If it's too much for people, if audiences don't accept it, well I guess that's just the way it is. I'm not being cavalier when it comes to my financial partners, but I think I've earned the right to do my thing my way. While I really want it to do well and it would be lovely if it's popular, movies are for a long time. I'm really proud of the piece. If it ends up not connecting with audiences, I won't be heartbroken. I'll be a little disappointed, but I won't be heartbroken.

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.

Diverse audiences can be just as misled as homogenous audiences.

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.

Movies are a fad. Audiences really want to see live actors on a stage.

I love to play for audiences that are simply made of people rather than so-called special people.

Would it be nice to win a film award one day? Yes. But the critics are going to have to wait till I'm ready. Right now, my gift is making big movies that audiences want to see.

I would like to play for audiences who are not using my music to stimulate their sex organs.

People do still cheer for the President. And some of the military audiences are more likely to cheer than others. I have seen him speak lately in front of groups like Freedom House, where the applause was a long time coming.

I think audiences deserve the benefit of the doubt. I prefer to be surprised by them rather then just assume they'll react negatively to any new idea.

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.

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.

What I love about the 'Alien' franchise is I would do all kinds of films - dramas, comedies, whatever - and every now and then I'd be in this science fiction blockbuster that would re-introduce the character and me to a lot of audiences around the world and allow me to go back and do the smaller films again, so it was really a good balance for me.

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.

The foreign audiences are somewhat surprised and happy to find an American film that asks questions about American culture. There's a certain kind of cultural imperialism that we practice. Our films penetrate every market in the world. I have seen and have had people reflect to me, maybe not in so many words or specifically, but I get the subtext of it - they're somewhat charmed and surprised and happy to see an American film reflect on our culture. Because they see other cultures reflect on our culture but they don't see US culture reflecting on itself in quite the same way.

We have to find new ways to work without permission, new ways to turn corners and go through doors that are closed off to us to create our own audiences and our own material independently.

The media industry grows more complex every day as technology fuels changes in how audiences consume entertainment. World Screen magazine is an essential resource, consistently providing keen insight into the players and latest developments in both established and emerging media markets around the globe.

We love to entertain audiences and this picture does that - it's romantic, it's funny, it's got a nice message and I think it's a gift to the audience to be able to enjoy this movie.

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.

Barack Obama's a politician, I'm a pastor. We speak to two different audiences.

Teaching physics at the University, and more general lecturing to wider audiences has been a major concern.

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.

Writers in the nineteenth century - people like George Eliot and Flaubert - were accustomed to addressing particular communities with which they shared not only linguistic meanings but also an experience and history. Those communities have progressively split in the twentieth century, and grown more heterogeneous, and writers emerging from minority communities have found themselves addressing audiences closer to their experience and history - a phenomenon derided by conservative white men as identity politics and multiculturalism in the arts.

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.

I love touring, I love doing the live show and it's just like a musical artist, you just keep coming up with material and as long as you're coming up with the material and as long as audiences like it, you just keep doing it, it's your job.

Folklore is always changing and evolving for new audiences.

What happens online is you are constantly dealing with invisible audiences.

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.

I don't make movies because I think audiences will want to go see them.

I feel like there's an obsession with pace right now in theater, with things being very fast and very witty and very loud, and I think we're all so freaked out about theater keeping audiences interested because everybody's so freaked out about theater becoming irrelevant.

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

Some writers take to drink, others take to audiences.

I think of my shows as family reunions. I give 100% every time. I just do. It's a huge therapeutic release. Also I love my touring family. And I love my audiences very much.

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.

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.

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.

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.

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.

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.

People had been so attached to the Diane [Cheers] character that audiences and producers found it difficult to think of me in any other terms. It took some time before people would consider me for other parts.

When Shakespeare copied chroniclers verbatim, it was because he knew they were good enough for his audiences. In a more polished age he who could so move our passions, could surely have performed the easier task of satisfying our taste.

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.

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

I had found English audiences highly satisfactory. They are the best listeners in the world. Perhaps the music-lovers of some of our larger cities equal the English, but I do not believe they can be surpassed in that respect.