Quotes About Audiences

Only audiences decide what's a franchise. Only audiences decide what's a hit. I have always been mindful of not wanting to be the Miami Heat of movies.

I live in New York, so I'm used to the audiences that cheer and clap through a play. It is unusual for London audiences.

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.

The fact that audiences have come away moved, excited, entertained and stimulated by the film is extraordinarily flattering.

Dissenting opinions are useful even when they're wrong. So instead of speaking to highly agreeable audiences, target suggestions to people with a history of originality.

You need something that no one else is using. And something that is clean enough to play around audiences.

There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.

I know two kinds of audiences only--one coughing, and one not coughing.

I split it up into working on the two narrative pieces that can tell a story. The scariest thing was whether I'd be any good performing live again. It was such a long time since I'd done any live work. It's so different for me than recording. Every night my audiences were what I would dream of. You could just feel their support.

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 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.

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.

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.

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.

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.

Well, because we're talking here about people who've been ordered deported and the administration has done nothing about actually making sure that they go home. This is theater, I think, for two audiences - one probably for the American public to some degree, to make it seem as though the administration is taking this renewed surge of Central Americans seriously.

There is a business here first of all, as a company and secondly, the ability to make films that audiences want to see and wouldn't get the opportunity to see. It's exciting. That's where our whole thought process originated from.

[Action's] a Western thing. We think of the hero going into battle, rebelling against a government or an oppressor, but [in KUNDUN] action is nonaction or what appears to be nonaction. That's a hard concept for Western audiences. . . . We wanted to show a kind of moral action, a spiritual action, an emotional action. Some people will pick up on it; some won't.

I'm really interested in violence. And I think there's an inevitably cinematic property that violence brings to the moviegoing experience. But one still has to be thoughtful and mature about how you depict it and how you think it through. You have to think about the effects that violence has on audiences, and it's deployed so casually that I think it's losing its meaning. And when things like violence and murder and the dehumanization of other people lose their meaning, then we're really kind of in a place where we have to reexamine and take a hard look at ourselves.

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.

What I enjoy the most is portraying villains like a vampire, a serial killer, a supernatural creature, etc... That's when I have the most fun, creating those roles. I also love playing the hero in horror movies, because then I get to really be believable, truthful to feel the terror, the scariness, the horror, and be able to really transmit that to the audiences watching the movie or that TV series.

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 are very sophisticated and they know the nuts and bolts of the genre - certainly with horror more than others I think. But they attract lots of people, they're much derided as a genre but people go and see them and they're not all dumb. There's some very clever horror films. Stephen King gets a lot of flack for not being a proper writer because he's a horror writer, but I think he writes some brilliant books. I think it's wrong to just bin it before looking at it.

Playing to bigger audiences at festivals got me in the mindset of writing music that I would sing to a crowd.

I'm not a popular actor. I don't necessarily want to be famous. I want to be known for great work. I want to be known to surprise audiences.

Cinemas gained new young audiences who wanted films made for them.

If Hollywood is the global producer for [media] products all around the world, that's of concern. If all audiences around the world know of America is what they see from Hollywood, then we're in trouble.

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.

Black audiences are hard. They always think they're better than you. So you got to come with a little extra to satisfy them.

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

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

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.

Every time I've done comedy in, like, traditional comedy clubs, there's always these comedians that do really well with audiences but that the other comedians hate because they're just, you know, doing kind of cheap stuff like dancing around or doing, like, very kind of base sex humor a lot, and stuff like that.

We don't play to be seen. I'm addicted to music, not audiences.

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

Audiences can be very judgmental.

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.

Frank Capra, Hollywood's Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the 'Saturday Evening Post' covers of Norman Rockwell. 'It's A Wonderful Life,' the latest example of Capracorn, shows his art at a hysterical pitch.

I want to do what I want when I want to do it not be dictated to by audiences.

We get paid in flesh. Our audiences are sluts and whores, each and every one.

For me, writing for younger audiences and writing for adults uses two different halves of my brain.

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 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.

Audiences are far from being as dumb as some performers seem to think.

I now have two different audiences. There's the one that has been watching my action films for 20 years, and the American family audience. American jokes, less fighting.

I am just glad that I can take the music to the people who want to hear it. I love my audiences. I am deeply indebted to them for giving me the chance to sing my concerts, make records, and do what I love. Whatever people call it, it is great to have a voice!