Quotes About Audiences

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

There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.

I was in the ensemble and also covered the parts of Dee Dee and Mary!! I had a fantastic time doing this show especially when we performed in places like Cardiff and Glasgow where the audiences were just so enthusiastic, joining in with all the songs and up on their feet dancing at the end!!

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

I want my audiences to be as open-minded as my characters.

Great communicators leave their audiences with great clarity.

I think America is a hard nut to crack. But once you get a toehold, it's a great place for an entrepreneur because people are so enthusiastic, and you have the most enthusiastic audiences in 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.

I think audiences deserve the benefit of the doubt. I prefer to be surprised by them rather then just assume they'll react negatively to any new idea.

I don't know, I think the crowds are even more responsive now because the audiences are skewing younger.

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.

We love to entertain audiences and this picture does that - it's romantic, it's funny, it's got a nice message and I think it's a gift to the audience to be able to enjoy this movie.

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.

No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.

As professional actors, it's our job to entertain our audiences while setting benchmarks for ourselves as well, creatively and intellectually.

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.

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.

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.

And perhaps, those of us in the industry who are still foolishly clinging to the idea that female films, with women at the center are niche experience, they are not. Audiences want to see them and, in fact, they earn money. The world is round, people.

I think the American people want to see the interactivity between candidates and audiences, and tough questions posed by people and how you handle them under fire.

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.

Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.

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.

And lot of Asian audiences and reporters don't like me to act as a bad guy. But I think I want to become an actor, I want to try different way.

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.

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

This movie [Everybody Loves Somebody] is as much for the general market as it is for Latino audiences. That's a really exciting prospect.

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

If my films do well or not, I am glad that the audiences appreciate my performance.

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 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.

Everybody that you could name would join in our audiences from, Laguardia on down. Everybody came. Everybody came to the Cotton Club.

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

There are some audiences who are uncomfortable with the ambiguity, though. They want a film to chew their food for them, they want Hollywood endings that tie everything together in the end and answer all of the questions. They are usually people on one extreme of the political spectrum or other and they haven't been happy because the film is not polemical enough on their side. They aren't usually people who aren't interested in understanding points of view that they disagree with - they just want to attack their opponents - and I'm ok with them not liking the film.

Actors are as anxious about the state of audiences as aviators are over weather conditions.

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

I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.

Audiences grew to like this duality of feeling, where youre both championing a character and youre revolted by them.

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 thing I do, really, is a communication with audiences more than any achievement through records.

Theatre audiences can't be made to think and cry: at best, they can be made to think and laugh, or to feel and cry.

We want to create these dramatic situations, whether they are real or not, to entertain audiences.

I try to be straight when I communicate with my audiences through a film. I'm not sure whether I have been successful. I don't watch my film once they're in theaters.

Audiences are less intrigued, honestly, by battle. They're more intrigued by human relations. If you're making a film about the trappings of the period, and you're forgetting that human relationships are the most engaging part of the storytelling process, then you're in trouble.