Quotes About Audiences

...the mass media. What are they? They're huge corporations, massive corporations, linked up with even bigger corporations. They sell audiences to other businesses, namely advertisers. So when you turn on the television set, CBS doesn't make any money. They make money from the advertisers. You're the product that they're selling, and the same is true of the daily newspaper. They're huge corporations, selling audiences, potential consumers, to other businesses, all linked up closely to the government, especially the big media. What picture of the world do you expect them to present?

Well, the coffeehouse audiences never know what they're going to get, and all the comics are different, as opposed to when you go to a club, and they're pretty much all telling jokes with set-ups and punchlines. Coffeehouse audiences are the most forgiving: They really listen, which is the best part.

Audiences of critical thinkers are my favorite kinds of audiences. There are jokes I tell in the show that don't get laughs unless I am in front of an audience of critical thinkers. Put me in front of a crowd of science teachers or astronauts! The guileless aren't our audience - it's the critical thinkers we love.

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

When I perform in front of large audiences, I'm much more comfortable, because I've already performed in front of tiny audiences - which is much harder, honestly. The smaller you strip things down, the more you depend on the songs and yourself, as opposed to arrangements.

I detest audiences - not in their individual components, but en masse I detest audiences. I think they're a force of evil. It seems to me rule of mob law.

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.

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.

When we'd suggested doing it, the Theatre Royal management had said, 'Nobody wants to see Waiting for Godot.' As it happened, every single ticket was booked for every single performance, and this confirmation that our judgment was right was sweet. Audiences came to us from all over the world. It was amazing.

Great communicators leave their audiences with great clarity.

Would it be nice to win a film award one day? Yes. But the critics are going to have to wait till I'm ready. Right now, my gift is making big movies that audiences want to see.

I'm finding myself very comfortable talking to medical audiences, and proving to them that underlying the material fields of the universe are force fields.

Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.

I would like to play for audiences who are not using my music to stimulate their sex organs.

The audiences are what keep me enthusiastic.

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

Every new routine I have ever written and performed probably occurred extemporaneously. Then after you have fleshed it out and tried it out in front of a number of audiences and it works, you put it down on paper.

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.

Live audiences love me because I'm singing and actually am able to f**k with people live over the mic.

Audiences and, to a large extent, critics who want less from theater than it is possible for it to give. If everybody's encouraged to want less, you'll end up with less.

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.

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.

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.

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.

I often joke with my audiences that I make most of my income on a ski pole. People smile but they get my point. You need to make time for your genius to flow. We get our creative bursts, those idea torrents that take our business and personal lives to the next level, while we are skiing or drinking coffee in a Starbucks or walking in the woods or meditation with a sunrise. Those pursuits are not a waste of time. Creativity comes when you are relaxed, happy and enjoying the moment. And when it comes, it brings ideas that rock your world.

I personally have more faith than the average writer in people's willingness to be complicated, and so I'm thrilled by what's happened. I'm elated at audiences' willingness to handle complexity. In some sense, I feel like my belief in what people are capable of is being validated.

The States still has the best audiences by far.

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.

The solo years have been more meaningful to the audiences than the Smiths years, but the press in England only write about me in relation to the Smiths era.

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.

Western audiences can gain an impression of China from my films. This is an excellent channel for promoting China`s culture.

Broadcast TV is still the mothership and it will be for the foreseeable future. Audiences may be declining slightly but revenues are going up and profits are going up.

I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.

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.

Designers from start to finish now in digital media have to think in a much more sort of thoughtful serious and humble way about how design audiences will receive their products.

I write on sacred stories, symbols and rituals of all cultures - European, American and Chinese - but my audiences, typically, like me to focus on India.

I feel like there's an obsession with pace right now in theater, with things being very fast and very witty and very loud, and I think we're all so freaked out about theater keeping audiences interested because everybody's so freaked out about theater becoming irrelevant.

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

You figure out how to create opportunities to make music, and then, if you take care of the music, audiences will come around. They also might leave. What matters is the moment: the moment of making music, with and for and among others, and what that offers to those people in that moment. They might never see me again; they might never learn my name. But it might still be something they carry with them.

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.

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

You've got audiences cheering at the prospect of somebody dying because they don't have health care and booing a service member in Iraq because they're gay. That's not reflective of who we are.

Some audiences can shake and bang their heads on the stage to riffs all night long, but subtlety is an art that must be mastered if you're going to be remembered.

I look forward to my first visit to Israel. Music is a universal language that is meant to unify audiences in peace and love, and that is the spirit of our show.

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

Audiences like to see the bad guys get their comeuppance.