Quotes About Audiences

Diverse audiences can be just as misled as homogenous audiences.

Nobody roots for people who presume success. You have to earn success, and success is earned by making a movie that audiences like and want to see more of.

Every day in this industry is an experience in itself and I try to work hard not to let anyone down. It is a great feeling, but it does come with responsibility towards your colleagues and the audiences

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

All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.

We love to entertain audiences and this picture does that - it's romantic, it's funny, it's got a nice message and I think it's a gift to the audience to be able to enjoy this movie.

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.

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.

At this stage, what would be rewarding would be for audiences to want to watch.

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 audiences certainly have declined. If I go to the theatre now I find people come there to eat and smoke and talk to one another. And look like scarecrows.

I love touring, I love doing the live show and it's just like a musical artist, you just keep coming up with material and as long as you're coming up with the material and as long as audiences like it, you just keep doing it, it's your job.

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.

Ultimately, what audiences respond to is truth. Even as fantastical as the story can be, and out there, at its core, it's dealing with loss, madness and mortality.

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.

India went through a dramatic revolution after the '90s when our economy started opening up for the first time and Indians were now experiencing the Western life, if you will. Drugs and sex and a lot of those influences came in as the economy stabilized, and we were growing up and experiencing that. The Indian writing market was very small at that time. Our literature was very attuned to what Western audiences were interested in, so everybody was writing about the slums in India and magic realism or stories about Hindus and Muslims and partition.

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.

New ideas need audiences like flowers need bees. No matter how bright and colorful, they will die unless others work to spread them

Big players want to play in front of big audiences.

As a performing group, the Beatles began by playing old rock favorites, for dancing, to tough audiences in Liverpool and Hamburg. When they began writing seriously, they discovered that they couldn't compose in the early American rock tradition.

If a studio sees that a female can bring in audiences, then they're going to make movies with that person.

It [moviemaking] is about entertaining audiences with great characters and great stories, you want to make people laugh, you want to make people cry, you want to have great music that is memorable. You want a movie that, as soon as it's over, you want to watch it again, just like that. That's what it is, whether it's live-action, animation, hand drawn, computer, special effects, puppet animation, it doesn't matter. That's the goal of a filmmaker.

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

I signed the pledge. I have been very good. I have been very straight and honest and honorable. And they're not treating me well.I have won every debate according to every poll, every single online poll after the debate. But way they stack the audiences, the way they talk, they have this lightweight Senator Marco Rubio saying terrible things, just personal, terrible things.

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 just respect audiences to understand that that's what goes on in movies. I just try to make movies that respect the intelligence of the audience. Respect that they understand that the narrator is always unreliable and respect that they understand that the medium can do whatever it wants.

French cinema audiences usually don't express anything. Certainly not satisfaction.

Audiences will get just as tired of people wrestling on a bed as they did of Tom Mix kissing his horse.

The point of view foreigners will have of the film The Conquest isn't the same as the French public. What will interest American and international audiences is the love story between Nicolas and Cecelia that's a metaphor of today's occidental couple, namely the women in the shadows who carry their husbands into the spotlight, but the man is so absorbed with work so the woman leaves him for another man.

When they tested Fatal Attraction, the audiences were so upset by her behavior, they literally demanded her blood.

You would give up your career if you lost your voice for good, or if the impresarios stopped calling, or the audiences stopped coming. But as long as those things are there, I don't plan to stop. There is nothing that makes me feel better than to be with my public.

Continuing to do stand-up is always a challenge because the audiences and the environments in which you work very often differ.

One of the great things about film is that, typically anything that's introduced in the first five minutes, the audiences will by into.

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.

Audiences looking for a rich, textured, cinematic experience will be put off and disconcerted by an image that looks more like an advanced version of high definition television than a traditional movie.

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.

There are some audiences who are uncomfortable with the ambiguity, though. They want a film to chew their food for them, they want Hollywood endings that tie everything together in the end and answer all of the questions. They are usually people on one extreme of the political spectrum or other and they haven't been happy because the film is not polemical enough on their side. They aren't usually people who aren't interested in understanding points of view that they disagree with - they just want to attack their opponents - and I'm ok with them not liking the film.

First of all, we have exactly the opposite type of audiences, for obvious reasons. So the competition is not going to be between the movies. I wish Dakota the best, not only because of this movie. I know the expectations of these movies are enormous but we know-every member of the family, brother, sister, real father-that she's a good actress.”

I still make music. I still write music and I record music, I just don't trust music promotion [and] distribution right now enough to record a new set of diligently worked-upon compositions. I do trust the audience and the audiences very much.

We get paid in flesh. Our audiences are sluts and whores, each and every one.

In the many times I have seen Hillary [Clinton] speak, she never fails to dazzle audiences by speaking in paragraphs, without notes.

You've got to have a sense of different audiences. I'm a kind of performer manque - I come from a long line of failed actors!

In the old days villains had moustaches and kicked the dog. Audiences are smarter today. They don't want their villain to be thrown at them with green limelight on his face. They want an ordinary human being with failings.

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.

People sort of lump packaged-goods video games into all video games. But when you look at total hours consumed and the dollars that are spent on all kinds of games, you've actually seen enormous growth in the audiences the last few years.

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.