Quotes About Audiences

TV can reach broad audiences, mass audiences, niche audiences; it can be local, regional, national; it can be spots, sponsorship, interactive. It can be anything you want it to be. I tend to think of TV as the Swiss Army knife of media, it's got something for everybody.

I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.

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.

The audiences are really different in general. Even in the same country or in the same city, from one venue to another, the audiences can be totally different.

If the networks can get audiences to tolerate pop-up promos by the dozens, maybe they'll start selling pop-up commercials, too.

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

I think the U.K. is an amazing place and has been extremely good to me. Some of my favorite and most-listened-to bands are from England. I have met many good people there and have been in front of some of the most loyal audiences I have ever encountered.

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.

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.

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.

Instead of three networks you have three hundred or three thousand. Audiences are inundated with programming, and that sometimes gives them a sense of petulant entitlement.

For me acting, comes straight from the heart. In that sense I don't act at all. I think that to feel the character's pain I have to be myself. Somewhere audiences see that.

A period romance film with elements of horror. That was successful, because I feel like Coppola's DRACULA was one or the other. You know? It was never scary it was never a film he got invested in the romance of the characters. He understood it, but he never got invested. So it as a challenge for me to see if I could do that, I still don't know how audiences will sort of react to that.

Audiences are so much more sophisticated than they've ever been. They expect a lot more. I don't think because it's an hour of your Thursday night rather than an hour and a half of your weekend that you should be gypped at all in quality.

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.

Audiences tend to dig the earlier stuff by any given musician, and the artists themselves always tend to prefer the thing that they're doing now.

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

Audiences in every medium are becoming far more savvy. No one goes to watch a Tom Cruise movie any more just because it's starring Tom Cruise.

The careful choice of words, the scrubbing of language, the calculated images we presented to the external audiences - those were all major parts of my daily life over there. So, some of that is going to seep over into what I showed in the novel and - more importantly - how I showed it.

We have to find new ways to work without permission, new ways to turn corners and go through doors that are closed off to us to create our own audiences and our own material independently.

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.

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.

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.

Barack Obama's a politician, I'm a pastor. We speak to two different audiences.

My mother was electric onstage, and I vividly recall the extraordinary power she had over her audiences

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.

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.

Whenever you think you're writing what other people want to hear from you, and that it'll be commercial, you're doomed to disaster. Writing has to be as truthful and specific as we can make it. The minute we think that we're reaching more people and pleasing them, we get general. And audiences sense that and turn away, shun us.

I don't make movies because I think audiences will want to go see them.

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

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.

Though I am still very vulnerable to audiences—and it happens all the time - where for some reason the energy doesn’t connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

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

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

We try to keep it a classy show, but it certainly is blue at times. And it all depends on the audience, sometimes we've have audiences that don't really want us to go too far in that direction.

Machines have given us a new ability to count and make our understanding quantitative. The Web connects news gatherers with audiences in ways that were never possible before and can bring a breadth of intelligence, and experiences to understanding the news we never had. And professional reporters and editors still have a unique role to play in triangulating those inputs as well as bringing three other distinct skills - access to interrogate people in power, exceptional storytelling skills, and a discipline of open minded, skeptical inquiry - which are not as likely to be found elsewhere.

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.

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

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.

And we realized that it was kind of a starting point for gymnastics, to go professional, and also to just get a lot more of the audiences in the arenas on the off years, in the years that we're not in the Olympics.

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

The fact is that Hollywood, from as early as the sixties to the present time, has ghettoized cinema into the big industry, a marketing industry. In doing this, the audiences have lost touch with the aspects of film which were to be informative and educational and even spiritual.

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

We need new friends; some of us are cannibals who have eaten their old friends up; others must have ever-renewed audiences before whom to re-enact the ideal version of their lives.

I think the Harry Potter movies are proof that audiences love that stuff. They love the idea of magical objects and they like learning the rules of those objects and what they do.