Quotes About Audiences

London audiences are tricky, too. They don't laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.

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.

Minimalism seems closest to the sophisticated storytelling of movies. Movies have really educated contemporary audiences to be the most intelligent, sophisticated audiences in history. We don't any longer need to have the relationship between one scene and the next explained. We will figure it out ourselves.

Animation, for me, is a wonderful art form. I never understood why the studios wanted to stop making animation. Maybe they felt that the audiences around the world only wanted to watch computer animation. I didn't understand that, because I don't think ever in the history of cinema did the medium of a film make that film entertaining or not. What I've always felt is, what audiences like to watch are really good movies.

If you address yourself to an audience, you accept at the outset the basic premises that unite the audience. You put on the audience, repeating cliches familiar to it. But artists don't address themselves to audiences; they create audiences. The artist talks to himself out loud. If what he has to say is significant, others hear & are affected.

Movies are a fad. Audiences really want to see live actors on a stage.

My mother was a children's librarian. I remember when traditional stories were revised for modern audiences until they bore only a nodding acquaintance with the originals, but were released as 'authentic Indian stories' when they were, in fact, nothing of the kind.

I look for the essence of a story and a human angle that I think audiences can relate to. I also look at how the dialogues flow in the film as a whole and between the characters, and most importantly I always consider what I can bring to the character from a creative point of view.

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.

He was resentful against all those in authority over him, and this, combined with a lazy indifference toward his work, exasperated every master in school. He grew discouraged and imagined himself a pariah; took to sulking in corners and reading after lights. With a dread of being alone he attached a few friends, but since they were not among the elite of the school, he used them simply as mirrors of himself, audiences before which he might do that posing absolutely essential to him. He was unbearably lonely, desperately unhappy.

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

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.

There are a significant number of people who appreciate what we do, and most of them gravitate to Analog because this is where they can find it. The other magazines tend to share their audiences, which may result in each of them having a smaller market share.

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

I have a children's theater background, so I grew up performing for child audiences; it's sort of my specialty. I know the child audience pretty well - or felt like I did because I performed for them so much. I studied a lot about the child audience, about theater. So it was naturally a place that I gravitated to.

Audiences could never relate to me as anything other than Tori Spelling.

[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."

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

When I got to LA and was with the James Gang, I got the opportunity to write a lot, to play in front of large audiences, make some money.

I feel so lucky that I've been on shows that have been by and large critically acclaimed and that audiences like it.

A stand-up comedian faces the audiences and gets their immediate feedback. I hide behind the comic strip, and unless people write to me, I dont know what they think.

I just want my audiences to be entertained and feel like they're part of the show. I want to show them a good time and create an experience they're going to enjoy.

Writers in the nineteenth century - people like George Eliot and Flaubert - were accustomed to addressing particular communities with which they shared not only linguistic meanings but also an experience and history. Those communities have progressively split in the twentieth century, and grown more heterogeneous, and writers emerging from minority communities have found themselves addressing audiences closer to their experience and history - a phenomenon derided by conservative white men as identity politics and multiculturalism in the arts.

At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.

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.

I've never worried about what audiences would accept or had a game plan regarding the career. I never had an idea of how I should look to my fans or anybody else.

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.

A lot of television tends to assume that audiences don't have the attention span or the IQ to follow a lot of stuff.

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.

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.

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

I am deeply honored that my team is being recognized by H.S.H. Prince Albert II and the Festival de Television de Monte-Carlo for Disney/ABC's role in creating television that inspires and captivates audiences wherever they live.

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.

I tell the stories in front of audiences and wait for something to happen. It's similar to a standup comic doing his schtick for an audience.

Political audiences are not fun.

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

I make movies that audiences like, that I'd want to see. That's all.

The BBC's television, radio and online services remain an important part of British culture and the fact the BBC continues to thrive amongst audiences at home and abroad is testament to a professional and dedicated management team who are committed to providing a quality public service.

I have worked for YouTube like texting and driving because I was curious to test what's out there and how does it function, can I release something like about texting and driving to very young audiences, at the age where they do their drivers test? And the response was phenomenal, millions of people saw it.

For better or worse, I've become the person the Adams Estate has entrusted to guide Dirk Gently into new mediums and to new audiences. I take that responsibility pretty seriously, which is, I'm guessing, where Ilias's comment about me being a "hands-on collaborator" (code for control freak) comment comes from.

I feel very fortunate for audiences to have been so gracious as to allow me to do pretty much any role that I felt I could do. They let me play a president. They let me play a lawyer. They let me play a hit man. They let me play a father. They let me play Howard Saint.

I found out a long time ago that if I didn't have a good story for a song, I could just make one up! Now it seems over half the stories in my show are made up. The funny thing is, those seem to be the ones that resonate the most with the audiences.

Children are the most wonderful audiences. What's struck me most is that that they watch it so silently, until the end when they shriek and shout and clap.

I want audiences to look at adolescent delinquents with greater understanding and more compassion.

Audiences respond in entirely different ways. One thing is unanimous - music binds us altogether.

Comedy shows in D.C. are so much fun. I think because of the intense area that is connected to politics that people need, they need their down time. D.C. audiences are almost universally praised by comedians.