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.

When my work does speak to audiences, when it creates audiences around it, I feel a little less crazy because what that means is that there are folks out there who are interested in thinking about themselves and the world through a prism. The prism is a labor and there can be a pleasure in labor.

We did two films [Kung Fu Panda], because the first two films were so embraced by the Chinese audiences we wanted to make something we could push further and since this is a co-production, it seemed like the perfect time to create something that felt native to Chinese audiences.

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.

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.

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.

The quality of CGI, audiences are now so used to it. They don't know what is CGI and what is real.

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, 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.

I'm at peace with myself. My film just may please audiences. At any rate, it's already a great prize to be part of just 16 films among all of the world cinema out there. I'm tranquil and satisfied.

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.

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

Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.

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 have always been a Laugher, disturbing people who are not laughers, upsetting whole audiences at theatres... I laugh, that's all. I love to laugh. Laugher to me is being alive. I have had rotten times, and I have laughed through them. Even in the midst of the very worst times I have laughed.

The critic is the duenna in the passionate affair between playwrights, actors and audiences - a figure dreaded, and occasionally comic, but never welcome, never loved.

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

Audiences can tell when you're being fake and they will eat you alive. But if you're doing something authentic they will connect to it and that can lead to commercial success.

I think that when audiences find a movie that they don't expect to like, it adds great word of mouth.

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.

Teaching physics at the University, and more general lecturing to wider audiences has been a major concern.

The audiences like to think that satire is doing something. But, in fact, it is mostly to leave themselves satisfied. Satisfied rather than angry, which is what they should be.

Different cultures have different audiences.

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.

Paul Ryan and his allies, who include Mike Pence, are congressional conservative Republicans, they have a very clear conservative agenda. The question will be who has to bend more to accommodate the other - Mr. Trump accommodate their ideology, or will they have to accommodate his? And if he can rally audiences behind him, we could see a very interesting intra-party war of a kind we haven't seen in a really long time.

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.

Phish and Dave Matthews really know their audiences and really treat them well.

Cinemas gained new young audiences who wanted films made for them.

Black audiences are hard. They always think they're better than you. So you got to come with a little extra to satisfy them.

I don't really think that audiences are that much different. I think that a fan is the same whether you are from here or from Japan - you come to a show because you like the music. I don't really see much of a difference anywhere.

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

Luckily for his audiences, Bennett doesn't tire of singing I Left My Heart. ... that song made me a world citizen. And when I do it, it always feels like the first time.

People have reacted to the length of "Aquarius" in very positive ways. For example, at the beginning, you have people in a car on the beach at night. One character says, "I'm going to play you this great track." She pushes in a cassette tape, and they listen to about 45 seconds of Queen's "Another One Bites the Dust." You can actually see the pleasure registering on their faces, but it takes time, and audiences have appreciated that.

If something is successful with the audience, it's automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!

Once upon a time fairy tales were told to audiences of young and old alike. It is only in the last century that such tales were deemed fit only for small children, stripped of much of their original complexity, sensuality, and power to frighten and delight.

So anyway, I really enjoyed the European audiences.

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

It was tough doing 'Underneath the Lintel' in New Jersey in the wintertime, but rewarding. Those audiences were lively and interactive. On-stage was great, but off-stage was difficult.

We are entering into an age in which visual language is defined by a dialogue between photographers and audiences. This means not just the democratic posting of images but the democratic interpretation of images.

For four years, we didn't do any 'Halloweens,' ... But I believed in it. It's not a genius creation or anything. But whenever Halloween season comes around audiences want something like this.

When I talk to audiences about the size and age of the cosmos, people often say, "It makes me feel so insignificant." I answer, "The bigger and more impersonal the universe is, the more meaningful you are, because this vast, impersonal place needs something significant to fill it up." We've abandoned the old belief that humanity is at the physical center of the universe but more come back to believing we are at the center of meaning.

For me, writing for younger audiences and writing for adults uses two different halves of my brain.

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

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.

For certain things, certain audiences, people will laugh. And in other places, there's dead silence. And I enjoy them both. You try to make films where it's never one way - like life.

Science fiction is a way that I can go into the abstract, go into the imagination, and audiences are still willing to go along for the ride.