Quotes About Audiences

When my work does speak to audiences, when it creates audiences around it, I feel a little less crazy because what that means is that there are folks out there who are interested in thinking about themselves and the world through a prism. The prism is a labor and there can be a pleasure in labor.

I detest audiences - not in their individual components, but en masse I detest audiences. I think they're a force of evil. It seems to me rule of mob law.

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.

Diverse audiences can be just as misled as homogenous audiences.

Animation, for me, is a wonderful art form. I never understood why the studios wanted to stop making animation. Maybe they felt that the audiences around the world only wanted to watch computer animation. I didn't understand that, because I don't think ever in the history of cinema did the medium of a film make that film entertaining or not. What I've always felt is, what audiences like to watch are really good movies.

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.

I love audiences. My God, the best friends in the world!

A lot of times, when you're acting, you have to explain things to the audience, and it's boring work to do that. It's really hard to make that interesting. I like the discovery of characters. I think people are smart. Audiences are intelligent and can figure things out by just watching behaviors.

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.

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.

Audiences, as they get smaller, can intensify their relationship with the product, and so can the creative relationship with the people that you are serving. The good news is that, the more shows there are, the less the conglomerates have to gain by breaking the will of each individual creative.

The good and wonderful thing about my whole career is that I've always felt that the audience, if I do it well, will track wherever I go, whether it's President or a lawyer or bad guy or good. All I have to do is execute the material enough where they buy into it. I've had the great luxury of the audiences accepting that.

You know what I miss? The energy of live audiences, because there's no substitute for that exchange that you get in real time when you're sharing a moment, a same with people who are in that same time and space with you. I really just love that. I enjoy it when I get to travel and make speeches now. I like that a lot too. But that's probably the thing that I miss the most about hosting my own show.

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.

With stand-up you've just got that one chance. Audiences can be quite fickle.

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.

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

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

There are two kinds of audiences. There's the ones who were in the theaters, and the ones who are outside and we want them to come inside the theater. And, it's not the same.

Some of our most powerful works of art have been produced by older Americans-by hands that have engaged in years of hard work, eyes that have witnessed decades of change, and hearts that have felt a lifetime of emotions. Our whole society benefits when older Americans use their talents and experiences to become involved in the arts as creators, teachers, mentors, volunteers, and audiences.

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.

The audiences certainly have declined. If I go to the theatre now I find people come there to eat and smoke and talk to one another. And look like scarecrows.

Ultimately, what audiences respond to is truth. Even as fantastical as the story can be, and out there, at its core, it's dealing with loss, madness and mortality.

Australians just don't see that many Australian films, but it's also our responsibility as filmmakers and the responsibility of the funding bodies to remember that audiences want to be entertained, and people are entertained in lots of different ways.

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.

I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.

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.

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

I'm doing the same thing and it's a hundred times bigger and a hundred times better. So if your going to make a computer game off a movie, is it going to be like "Avatar" where it's going to be a prequel before Jake even got to the planet. You've got to be smart because audiences demand that.

I need an army. I need people out there who are either preaching with me to different audiences that I can't get to or who are implementing the work and helping people actually learn their why or practice their why or implement their why because I don't do that.

Practice, practice, practice in speaking before an audience will tend to remove all fear of audiences, just as practice in swimming will lead to confidence and facility in the water. You must learn to speak by speaking.

I look for every opportunity to mix comedy and horror and tragedy. I love catching audiences off-guard.

Lots will get on the mic and tell huge audiences to pray for world peace. And there's a scientific study that shows when everyone prays for peace, whole war zones on the planet actually cease fighting for that day!

I'm interested in cinematic realism. I think there is a rich potential to bring to audiences people they haven't seen before, that they are discovering a bit like how we discover people in life for the first time. There's an authenticity that can't be denied.

I honestly consider that the greatest gift to me, is the reaction that I get from my work. That is a given which I never, ever take for granted. But to be given that by audiences, individuals, on the street, in the theater, is an extraordinary feeling.

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

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

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.

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.

Onstage I have a natural chutzpa that audiences like. I'm out there.

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

What I wanted to do was to get that sense of being in touch with this lost world while holding onto what draws readers and audiences there in the first place.

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.

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.

I came out of film school and went after movies that I thought audiences wanted to see or that the studios wanted, as opposed to the movies that I wanted. Over the last 10 years, I've gravitated more and more toward the films that I grew up loving - classic Spielberg, Lucas, James Cameron and Ridley Scott movies.

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.

It was tough doing 'Underneath the Lintel' in New Jersey in the wintertime, but rewarding. Those audiences were lively and interactive. On-stage was great, but off-stage was difficult.

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.”