Quotes About Audiences

You learn quite a bit about your film from test screening audiences. With both comedies and movies that are intense, you need to calibrate the film and see how audiences react.

I'm no expert in what country artists go through or how country audiences would react, but I'll say that the work I did to put myself in Will Lexington's shoes absolutely led me to believe that it would ruin his career. Meanwhile, I was getting lots of supportive messages saying, "Will Lexington should just come out! It's 2015 already, audiences are going to embrace it!"

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.

There's a forgiveness that literary audiences will give you that film audiences don't give you. It's the two hour construct. You're in there and it needs to climax and finish.

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.

We did two films [Kung Fu Panda], because the first two films were so embraced by the Chinese audiences we wanted to make something we could push further and since this is a co-production, it seemed like the perfect time to create something that felt native to Chinese audiences.

Audiences are audiences.

I make American films for American audiences and Asian films for Asian audiences.

Nobody roots for people who presume success. You have to earn success, and success is earned by making a movie that audiences like and want to see more of.

'Hoop Dreams' brought us back to our roots in veríté filmmaking. What we saw in the powerful emotional scenes within it - at nearly three hours long and with no star power - was an outreach to a different and more important audiences. There were the similarly involved folks who saw it that were part of the struggle, but there was also a new audience that weren't empathetic or sympathetic to the people we were portraying. They would never watch a film about inner city families, but they watched 'Hoop Dreams.'

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

Bonnie and Clyde became not just a big hit, but a movie that went through young audiences like a first slug of Scotch. It affected clothes, talk, manners. Though set in the thirties it had the feeling of 1966, the most dangerous moment in American young people remembered.

'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.

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.

In the tradition of the classic songwriter rooms like The Bluebird in Nashville, Strange Brew is a gift to the music community in Austin, for artists and audiences alike

President Reagan was a master communicator. In this particular speech he did a brilliant job moving between the stately role of U.S. President and a national eulogist. The pain of the event was etched on his face. In 4 short minutes, he addressed five different audiences. He spoke to the collective mourners, families of the fallen, NASA employees, school children, and even took a poke at Russia. He communicated comfort and patriotism within a very short timeframe. That's not easy to do.

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.

Acting is trying to be absolutely truthful; to get audiences to believe that you are a dean, when, actually, not only are you not the dean, but if you walked into the building they'd probably throw you out. That's very hard.

Why would you let [the TV audiences] build a habit of going to the cable networks? So I think they've obviously smartened up now, and they're not giving the summer to cable anymore.

The audiences like to think that satire is doing something. But, in fact, it is mostly to leave themselves satisfied. Satisfied rather than angry, which is what they should be.

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.

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.

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.

It's a terrible thing to make films that are never seen or experienced by audiences. Often times nobody knows about them, even though they are great films. They are not promoted and that's really sad.

Audiences are harder to please if you're just giving them effects, but they're easy to please if it's a good story.

Paul Ryan and his allies, who include Mike Pence, are congressional conservative Republicans, they have a very clear conservative agenda. The question will be who has to bend more to accommodate the other - Mr. Trump accommodate their ideology, or will they have to accommodate his? And if he can rally audiences behind him, we could see a very interesting intra-party war of a kind we haven't seen in a really long time.

New ideas need audiences like flowers need bees. No matter how bright and colorful, they will die unless others work to spread them

Audiences feel no hatred from me. Because I'm not bitter.

...I do like the low frequencies. It's from years and years of observing audiences when they hear a lower frequency coming from an instrument it tends to pull them in. You have to listen a little more attentively. High frequency instruments hit you so hard, after a while the ear has a tendency to want to shut down. And that's what happens. I've been able to observe very carefully how people tend to get very tired of listening to high frequencies a lot.

Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.

I think that American audiences are more used to following one character.

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.

Internationally, ancient Rome and Greece cultures are just so fascinating. I don't think audiences will ever tire of it, because it's such an advanced society.

If something is successful with the audience, it's automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!

But it has also enabled me to find my feet as a lecturer and a reader of my own plays to audiences who like to hear them; and that experience of immediate appreciation gives greater pleasure and more stimulus towards further activity than even the most laudatory of reviews.

Sound is 50 percent of the movie going experience, and I've always believed audiences are moved and excited by what they hear in my movies at least as much as by what they see.

I still love it, every day. I get up and I love going to work. I love seeing it all happen, and I admire the people that we work with. I just hope that the films will continue to entertain audiences, as they have done for 50 years.

One is never completely satisfied. But I can say that I'm not dissatisfied. I've been very fortunate. I've been given some gifts - to take advantage of the contemporary times when I made movies. Gifts to make audiences laugh.

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.

Continuing to do stand-up is always a challenge because the audiences and the environments in which you work very often differ.

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

In the many times I have seen Hillary [Clinton] speak, she never fails to dazzle audiences by speaking in paragraphs, without notes.

I feel very fortunate for audiences to have been so gracious as to allow me to do pretty much any role that I felt I could do. They let me play a president. They let me play a lawyer. They let me play a hit man. They let me play a father. They let me play Howard Saint.

I did a long concert tour in England and Denmark and Sweden, and I also sang for the Soviet people, one of the finest musical audiences in the world.

Horror audiences don't need to see some TV actor they're familiar with.

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.

To have great poets, there must be great audiences.

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.