Quotes About Audiences

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.

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 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.

But when I do book signings and personal appearances, the audiences are mostly white. Growing up here, I expected that and understand it. Black audiences won't come out for a white writer for the most part. It really is just a fact of life.

I do want to say things in these films. I want audiences to come out with shards stuck in them. I don't care if people love my films or walk out, as long as they have a strong response.

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.

Inviting audiences to open up and hear things differently is an important part of what I do. But I still love to sing songs with words, too.

You have to take the chance to bomb and disappoint audiences.

Different authors write different ways, have different relationships with their audiences, and those are all legitimate.

The great familiar musical works are always greeted by the audiences as ever welcome and beloved friends.

[David Milch] had say, "You have to understand that our history of western movies, what we've been doing in westerns since the movies began to talk, you had audiences that would be offended by certain things, and there was a cleaning-up of the way people spoke."

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.

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.

My routines come out of total unhappiness. My audiences are my group therapy.

We [with Neal Dodson and Corey Moosa] spent a lot of time writing, for lack of a better word, this manifesto about what we wanted to do. We wanted to find work that was relevant socially and that didn't take audiences for granted.

Audiences will see what they want to see. Some will come out, hopefully enjoying two hours of action. Some people will find themselves gravitating towards the emotional dilemma that the characters find themselves in. Other people will see that there is some layer of subversions to the storytelling aspect of poking a finger of judgment at certain governments to the idea of foreign invasion, others maybe false pretenses.

One of the benefits of playing to small audiences in small clubs for a few years is that you're allowed to fail.

Audiences are hungry for something different. With binge-watching, they're hungry for interesting content they haven't seen before, and they want to be entertained. A lot of shows are grim, murky and dark. We wanted to spin away from the obvious, the tropes, the cliches and what people are doing right now, and do something different.

Because audiences all over the world can see an independent film almost anywhere and anytime, these new distribution outlets have opened a door that is revolutionizing the movie-going experience.

Different cultures have different audiences.

Folklore is always changing and evolving for new audiences.

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

Obviously the role of comics is changing very fast. On the one hand, comics are widely accepted and taken seriously. On the other hand, the mass media is disintegrating, and audiences are atomizing. I suspect comics will have less widespread cultural impact and make a lot less money.

I've always seen myself as one of those 'show people.' My earliest memories are wanting and needing to entertain people, like a gypsy traveler who goes from place to place, city to city, performing for audiences and reaching people.

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

In the 1990s I got to play in a group that played in prisons in California. We would play in maximum security wards. It was infuriating. Those kinds of situations stick with me. We got to come in and play music for them because that's a way of caring, just offering something, a gift, basically. They're basically the most grateful audiences I've ever experienced, because nobody's giving them anything.

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.

There's a weird loneliness that comes with being a comedian, especially standup. Even with improvisers, I think there are certain moments of truth where you feel really, really connected to audiences, and that's when you're on stage. I think there's definitely something inside the personality of a person who wants to be a comedian that's looking to connect at all times. That's where the adrenaline rushes in their lives come from.

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

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.

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

I really like writing from real-life experiences. Audiences seem to prefer the stuff I couldn't have made up.

I think that will be a lot of fun for audiences to get the same stream of consciousness that was going through my head at the time. It was very exciting to suddenly recall what I was feeling at the time.

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.

I like live audiences, with real people - virtual reality is no substitute.

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.

Audiences are my best friends. You never tire of talking with your best friends.

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.

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.

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

I love watching audiences scream. I imagine it's the same joy that a director feels who has made a comedy when he or she is sitting at the back of a theater listening to the audience laugh. That sound of laughter is so sweet to a comedy director and that's exactly how a horror film feels when you hear the audience scream.

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.

I just play to progressive audiences. You know, if they're watching Discovery Channel, History Channel, that kind of thing, "Monty Python" have already laid the groundwork. They're known around the world. People like that kind of surrealist, left-field humor, and that's what I do. And "Saturday Night Live," a lot of American humor. "The Simpsons," above all, the weird, left-field humor, which I love. And sardonic. So that's all I'm doing. I find that audience, and they're in every developed country around the world.

I think audiences have hit the wall with CGI and special effects. They have seen so many over-the-top events that they can't suspend disbelief.

Timothy Spall - best known to mainstream audiences as Wormtail in the Harry Potter series - delivers an Oscar-caliber tour de force reminiscent of Charles Laughton

The basic function of a comic is stand-up because it's so straightforward and simple. If the audience don't laugh, you didn't do your job. I've had some audiences where I didn't care if they laughed or not because they were either too drunk or stupid.