Quotes About Audiences

I love interaction with audiences. If were my choice, I would spend most of my time interacting with audiences. Walking around and asking them to challenge me.

I make American films for American audiences and Asian films for Asian audiences.

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.

Inviting audiences to open up and hear things differently is an important part of what I do. But I still love to sing songs with words, too.

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

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

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

One of the biggest challenges in the past for me in working on the networks was that audiences have grown accustomed to television being something that keeps you company-background music, something that you have on while you're flipping through a magazine, cooking dinner, talking on the phone, putting the kids to bed.

I began coming to Paris in the 1960s when I was told audiences here liked my work. More than 20 of my plays have been produced in Paris, and several have had long runs and have returned in revivals.

Macbeth is a very popular play with audiences. If you want to sell out a theater, just mount a production of Macbeth. It's a short play, it's an exciting play, it's easy to understand, and it attracts great acting.

On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.

The matinee audiences are different because they're mostly kids, a great percentage kids. So they respond to everything differently, but I understand what they do respond to.

It's always an inner wish of every actor to reach out to maximum audiences.

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.

I think the role of the artist today is about being provocative. I don't mean shocking, but you have to provoke people into action. As an artist, you ask people for their time. It's the most precious thing anyone has. I'm asking audiences to come to my work and spend some time with it. What I'm really doing, of course, is asking people to take time for themselves.

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.

I really shine in front of prominently Jewish crowds. Normally I really beat myself up, but as far as Jewish audiences go, I'm at the top of my game.

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

If it's a low-brow bawdy comedy, it's got to stand the chance of succeeding as such. If it's an intellectual piece, a drama, and so forth. And of course, once you've determined the level of the piece, do it the best you know how. And then don't make concessions. To audiences, or to pursestrings, or whatever.

I came out of film school and went after movies that I thought audiences wanted to see or that the studios wanted, as opposed to the movies that I wanted. Over the last 10 years, I've gravitated more and more toward the films that I grew up loving - classic Spielberg, Lucas, James Cameron and Ridley Scott movies.

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.

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.

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.

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 think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.

Most of us are flawed, complicated people, and we're all trying very hard to disguise that or hide it from the public. Ultimately, we respond to someone who's capable of doing heroic things but has issues or problems in their life that they can't seem to resolve. I believe audiences identify with that. All of us have those secrets and those things that we wish we could improve about ourselves. And when you have someone who's heroic and flawed, I think it makes us feel better about ourselves.

The thing I always tell my audiences all the time is that I'm just two steps ahead of you on a good day. And I might be two steps behind you on a bad day.

The thing I do, really, is a communication with audiences more than any achievement through records.

Anything, even the conceptually most complex material, can be written for general audiences without any dumbing down. Of course you have to explain things carefully. This goes back to Galileo, who wrote his great books as dialogues in Italian, not as treatises in Latin. And to Darwin, who wrote The Origin of Species for general readers. I think a lot of people pick up Darwin's book and assume it must be a popular version of some technical monograph, but there is no technical monograph. That's what he wrote. So what I'm doing is part of a great humanistic tradition.

I had no reason to want to copy anybody else. What I wanted to give audiences for the few minutes that I thought my career would last was something unique.

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Audiences have proved time and again that they don't want a steady diet of any entertainer airing his social views - especially if he's a comedian.

Consequently, pictures are aimed at certain audiences, whether it be a teen comedy or an action movie or whatever. It's unfortunate, because while it may lead to big opening grosses, a lot of pictures that are a little different and don't fit so neatly into either a niche market or a high-concept marketing approach can get lost in the shuffle. That's one unfortunate thing.

I don't blame folks for not wanting to put me in their movies or whatever. I understand if their audiences had an association with me.

I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.

Clearly, audiences are very accepting of A-list talent both giving them what they want - Tom Hanks is the most classic example - and then going on, from time to time, to do things that are unexpected. That's part of what makes people want to go to the movies and not just sit home.

I don't think you can really make television based on what you think audiences want. You can only make stories that you like, because you have to watch it so many times.

I think [audiences are] more aware now of the contradictions in mainstream culture, the phony piety that permeates society, the inhumane hypocrisy.

There has to be the popcorn genre element, or I don't engage the same way. I like action and vehicle design and guns and computer graphics as much as I like allegory. It's a constant balancing game. I want audiences to be on this rollercoaster that fits the Hollywood mould, but I also want them to absorb my observations.

I thought 'The Artist' was a perfect way to find a good balance. The artistic challenge is obvious because the film is black-and-white and its silent, but I did my best to make the movie accessible and easy to watch. I really don't want to make elitist movies. I really try hard to work for the audience. Audiences are smart. They get everything.

It was only in South Africa that I got over this shyness, though I never completely overcame it. It was impossible for me to speak impromptu. I hesitated whenever I had to face strange audiences and avoided making a speech whenever I could. Even today I do not think I could or would even be inclined to keep a meeting of friends engaged in idle talk.

Audiences in mainland China know how to discuss movies.

The only difficulty is that I'm playing to two audiences, and it's too bad the noise detracts from the show, because it's a great show. I've seen my own self out there, and it's a very good musical show. Sometimes the show gets lost in the hysteria and sometimes it doesn't.

Sometimes you have to listen to other people, and see what the audiences want. That's what entertaining is about.

Self-determination, the autonomy of the individual, asserts itself in the right to race his automobile, to handle his power tools, to buy a gun, to communicate to mass audiences his opinion, no matter how ignorant, how aggressive, it may be.

There is no "era" of simple, focused, concept-driven identity design. There is only design that grows out of understanding audiences for specific problems, and that evolves from an idea. This is an approach that does not depend on any specific time period or its technology.

Audiences are not strangers to me. They're the best friends I've got in my life.