Quotes About Audiences

If you're in a successful play and the play is working well - I mean successful because the audiences like it, the audiences respond well - it's a pleasure.

You can't make theater happen without actors. The actor is the central ingredient in making theater happen. Audiences may come to theaters to see the work of stage managers, directors and producers, but the only people who can communicate theater magic to audiences, through ideas and emotions, are the actors. They are the only ones who can communicate this by themselves, and if necessary, they can get along without you. But you can't make theater without the actor.

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 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.

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.

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.

Audiences, as they get smaller, can intensify their relationship with the product, and so can the creative relationship with the people that you are serving. The good news is that, the more shows there are, the less the conglomerates have to gain by breaking the will of each individual creative.

Some audiences might find homosexuality an uncomfortable subject matter, and a character who is a Japanese collaborator is always uncomfortable.

I think human beings probably resonate with audiences more than bunnies, but who knows?

I perform regularly with a theater company called Outside the Wire who take performances of Greek tragedy to American-military audiences around the world to create discussion about PTSD and soldier suicide. It's one of the greatest things I've ever been asked to do as an actor.

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.

Singing is my passion, my first love and the secret of my energy. Music to me is like finding my inner self, my soul. It gives me a great joy to see audiences enjoying with me. I have given my heart to singing. When I sing, I can feel romance in everything around me.

On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.

I understand why creative people like dark, but American audiences dont like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.

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.

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.

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.

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.

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.

Douglas Adams did not enjoy writing, and he enjoyed it less as time went on. He was a bestselling, acclaimed, and much-loved novelist who had not set out to be a novelist, and who took little joy in the process of crafting novels. He loved talking to audiences. He liked writing screenplays. He liked being at the cutting edge of technology and inventing

There are several key pieces to keeping audiences engaged, and the evolution of that. One of them, mostly importantly really, is to have a brand that has purpose and value.

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.

In the end I created a career of my own, concentrating on my writing and lecturing, reaching larger audiences than I would had I ended up with tenure and a full teaching load. It was Virginia Woolf who said that it is terrible to be frozen out of a sacred tradition - but even more terrible to be frozen into it.

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

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

We're starting with our own carbon footprint. Not nothing. But much of what we're doing is already, or soon will be, little more than the standard way of doing business. We can do something that's unique, different from just any other company. We can set an example, and we can reach our audiences. Our audience's carbon footprint is 10,000 times bigger than ours... That's the carbon footprint we want to conquer.

I think that if an audience is truly appreciative of a performance, they will show it. Sometimes though, there are little differences, and there are audiences that are very reserved even though they are enjoying the show.

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

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.

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.

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.

There's a form of selling out. It's necessary. You have to become edible for people in Texas. You have to become edible for the Christian right, for mass audiences.

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.

Audiences can be very judgmental.

Our audience, it has been a more difficult process for classical music audiences around the world, and I'm not completely certain why.

People had been so attached to the Diane [Cheers] character that audiences and producers found it difficult to think of me in any other terms. It took some time before people would consider me for other parts.

You hear again and again that audiences want to see movies that are different and critics say we [directors] make the same thing again and again in Hollywood, then you go and make something different and you get kicked in the gut for it.

There are several key pieces to keeping audiences engaged, and the evolution of that. One of them is a content ecosystem, which is leveraging and utilizing as many different platforms as you possibly can to continue to drive the conversation so people have the opportunity to enter your brand from different ways.

What you want is the thing that critics love and audiences love, but that's the hardest thing to do.

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.

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

Music is still part of my spiritual life. Sometimes I sing my prayers. When I get audiences singing, I hope I'm helping them feel connected to something beyond themselves.

So that, to me, is important that audiences are treated with an amount of respect toward their intelligence. Most Hollywood films don't respect their intelligence.

When Shakespeare copied chroniclers verbatim, it was because he knew they were good enough for his audiences. In a more polished age he who could so move our passions, could surely have performed the easier task of satisfying our taste.

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

I have many enemies and they all think I'm being highfalutin calling it performance, but the word "reading" has a connotation of something academic with the lights on and you're going to get a lecture. I'm looking to blow my audiences away by giving a fine, dramatic performance and reminding them of why they love stories.

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.