Quotes About Audiences

What happens is people - especially, I think, audiences in the United States - people confront new things a little bit afraid. It's like when you're a kid and your mother puts something on your plate you never ate before. I think that American audiences are very much like that, and when they can accept something new they can accept the next new thing, it's incredible. And what happens is that their expectation of what things should be is elevated, and that's really terrific for us.

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.

The fact that audiences have come away moved, excited, entertained and stimulated by the film is extraordinarily flattering.

Audiences want to see them, and in fact, they earn money. The world is round, people.

Audience members are only concerned about the story, the concept, the bells and whistles and the noise that a popular film starts to make even before it's popular. So audiences will not be drawn to the technology; they'll be drawn to the story. And I hope it always remains that way.

'Hoop Dreams' brought us back to our roots in veríté filmmaking. What we saw in the powerful emotional scenes within it - at nearly three hours long and with no star power - was an outreach to a different and more important audiences. There were the similarly involved folks who saw it that were part of the struggle, but there was also a new audience that weren't empathetic or sympathetic to the people we were portraying. They would never watch a film about inner city families, but they watched 'Hoop Dreams.'

I think America is a hard nut to crack. But once you get a toehold, it's a great place for an entrepreneur because people are so enthusiastic, and you have the most enthusiastic audiences in world.

An unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.

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.

Different authors write different ways, have different relationships with their audiences, and those are all legitimate.

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.

What I love about the 'Alien' franchise is I would do all kinds of films - dramas, comedies, whatever - and every now and then I'd be in this science fiction blockbuster that would re-introduce the character and me to a lot of audiences around the world and allow me to go back and do the smaller films again, so it was really a good balance for me.

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

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.

To look in the eyes of audiences and see the kind of naughty glee that they got with being on the inside, the audience becomes your co-conspirators.

Certain audiences get the double meaning and some of the references and ironies, but there's definitely been shows where I feel like I'm not doing it well enough for it to come across as anything other than "oh, she's hot and she's dancing."

Audiences aren't going to get rid of me. One thing I can say, with absolute certainty, is that my shows will still be performed when I'm dead, buried and forgotten. They're going to absolutely outlive me, which is a wonderful thing to think about.

Audiences will see what they want to see. Some will come out, hopefully enjoying two hours of action. Some people will find themselves gravitating towards the emotional dilemma that the characters find themselves in. Other people will see that there is some layer of subversions to the storytelling aspect of poking a finger of judgment at certain governments to the idea of foreign invasion, others maybe false pretenses.

ِِِِِِِِِِArt house theaters are vanishing. They have almost disappeared completely, and that means there's a shift in what audiences want to see. And they have to be aware of that and be realistic. It's as simple as that.

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.

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

If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago.

Different cultures have different audiences.

Australians just don't see that many Australian films, but it's also our responsibility as filmmakers and the responsibility of the funding bodies to remember that audiences want to be entertained, and people are entertained in lots of different ways.

I saw Danny Kaye in a movie, and he was doing voices and faces on that big, big screen and making whole audiences laugh. It was just an instant hookup.

We've seen progressive rock all over the world, in South America, Europe, Asia, across the US and North America and Australia. There's huge audiences for this stuff. For me it's always been there and it's just a matter of time before the people have more of the means to spread the word.

I'm not a popular actor. I don't necessarily want to be famous. I want to be known for great work. I want to be known to surprise audiences.

It's to a writer's advantage to contain within himself elements of each sex, or any sex. It's to his advantage because it makes him able to write from the female point of view as well as the male. In some cases, of course, you will find some homosexual writers who can only write from a f - - -'s point of view. But I don't regard myself as a f - - -! Some people may. Also audiences wanted escapism. They don't like too much protest or criticism of their way of life.

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 really like writing from real-life experiences. Audiences seem to prefer the stuff I couldn't have made up.

Christopher Reeve did such an amazing job that to give him some kind of accent or more bravado would have been wrong. Audiences wouldn't have responded to that either.

We're committed to giving the independent artists we support the best stage to share their mind-blowing work with audiences.

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.

I've always been lucky enough to have great audiences. It has been quite a life.

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

Machines have given us a new ability to count and make our understanding quantitative. The Web connects news gatherers with audiences in ways that were never possible before and can bring a breadth of intelligence, and experiences to understanding the news we never had. And professional reporters and editors still have a unique role to play in triangulating those inputs as well as bringing three other distinct skills - access to interrogate people in power, exceptional storytelling skills, and a discipline of open minded, skeptical inquiry - which are not as likely to be found elsewhere.

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.

Postmodern comedy doesn't work well with very old audiences, because it's making fun of the comedy they enjoy.

Lenny Bruce is a very moral man trying to improve the world and trying to make audiences think

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.

Sound is 50 percent of the movie going experience, and I've always believed audiences are moved and excited by what they hear in my movies at least as much as by what they see.

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.

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.

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.

Audiences deserve better.

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.

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.