Quotes About Audiences

...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?

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

An unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.

A period romance film with elements of horror. That was successful, because I feel like Coppola's DRACULA was one or the other. You know? It was never scary it was never a film he got invested in the romance of the characters. He understood it, but he never got invested. So it as a challenge for me to see if I could do that, I still don't know how audiences will sort of react to that.

Every new routine I have ever written and performed probably occurred extemporaneously. Then after you have fleshed it out and tried it out in front of a number of audiences and it works, you put it down on paper.

Audiences are so much more sophisticated than they've ever been. They expect a lot more. I don't think because it's an hour of your Thursday night rather than an hour and a half of your weekend that you should be gypped at all in quality.

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.

I perform regularly with a theater company called Outside the Wire who take performances of Greek tragedy to American-military audiences around the world to create discussion about PTSD and soldier suicide. It's one of the greatest things I've ever been asked to do as an actor.

On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.

All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.

Network news accustoms audiences to assertion not argument. Over time, it reinforces the notion that politics is about visceral identification and apposition, not complex problems and their solutions. ... sound bites aren't very helpful. They can tell a voter what a candidate believes, but not why. And many issues are too complex to be freeze dried into a slogan and a smile. ... What's lost in a world in which everything's an ad? Perhaps the country that created the assembly line has simply found a more efficient way to do politics.

When I started reciting my own poems in public, I worried that it would seem too theatrical, but now I find recitation very natural, because it allows me to address audiences directly.

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.

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

ِِِِِِِِِِ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.

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.

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.

86% of its audience was made up of people of color. That tells you that the full potential of many black stars won't be realized until their audiences are fully integrated.

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

We've seen progressive rock all over the world, in South America, Europe, Asia, across the US and North America and Australia. There's huge audiences for this stuff. For me it's always been there and it's just a matter of time before the people have more of the means to spread the word.

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.

Audiences have kept me alive.

It's always an inner wish of every actor to reach out to maximum audiences.

Christopher Reeve did such an amazing job that to give him some kind of accent or more bravado would have been wrong. Audiences wouldn't have responded to that either.

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.

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 a show is good, it helps people learn about themselves, in some way and in some function. Whatever the genre is, if it's executed well, audiences grow and learn from it, and that's where their passion and enthusiasm comes from.

So much of the humor on new sitcoms plays to the lowest common denominator. Wit isn't nearly given as much attention as slipping on a banana peel. So much of the writing is so coarse, so obvious that it doesn't provide a shock, never mind a laugh. What makes something funny is alluding to it without laying it out explicitly. You let the audiences fill in the gaps and that's where the laughs come.

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.

Postmodern comedy doesn't work well with very old audiences, because it's making fun of the comedy they enjoy.

The point of view foreigners will have of the film The Conquest isn't the same as the French public. What will interest American and international audiences is the love story between Nicolas and Cecelia that's a metaphor of today's occidental couple, namely the women in the shadows who carry their husbands into the spotlight, but the man is so absorbed with work so the woman leaves him for another man.

I feel that audiences are very sophisticated, and part of my challenge is to keep them engaged because they are so complex.

When you start to see things that are well-executed you'll watch a lot of stuff in 3D and see the same scene again in 2D and realize, "Oh, my god, it's like you turned the color off or the sound off." Once you get used to it, I think audiences and the public will want more of it.

You think about taking audiences on a journey.

Costumes and scenery alone will not attract audiences.

The films I like to watch are when they make it relatable to human audiences.

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.

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.

My book, Oral History: Understanding Qualitative Research is about how researchers use this method and how to write up their oral history projects so that audiences can read them. It's important that researchers have many different tools available to study people's lives and the cultures we live in. I think oral history is a most needed and uniquely important strategy.

I have worked for YouTube like texting and driving because I was curious to test what's out there and how does it function, can I release something like about texting and driving to very young audiences, at the age where they do their drivers test? And the response was phenomenal, millions of people saw it.

I think actors have a greater responsibility when doing comedy. It's as easy as anything to get cheap laughs, but that's not the idea at all. "The slight trip syndrome," we call it. With tragedy one can get away with things a bit more because audiences don't always know how to react.

What you want is the thing that critics love and audiences love, but that's the hardest thing to do.

Stay true to your brand and true to your voice and audiences will respond to that authenticity with enthusiasm and passion.

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

The idea of making audiences feel like they matter, that the theatre matters, and that they're a partner in the event—that's what fuels me as a director . . . I believe it's actually radical to think about the audience.

The best shows have a clear idea of what they want to achieve, where the performers have the ability to disrupt normality and engage directly with audiences of all ages. A company who can do just that (apparently effortlessly) is dotComedy.

I want to show audiences I can act.