Quotes About Audiences

American audiences are just the same as any other audiences. Except a bit more boring.

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.

I want to use film to tell stories that need to be told to spark discussions that will lead to change. I really want to see a change in the mindset of youth, how they see themselves and how they value life. Young audiences will be able to see themselves in this film and older audiences will gain an understanding of what their kids are dealing with on a daily basis. Kids discuss what they see on TV, social media, film so I want to create content that they will discuss and will change the way they think.

Diverse audiences can be just as misled as homogenous audiences.

We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.

The audiences are what keep me enthusiastic.

I'm lucky to have worked in theater all over the world, but there's something magical about Broadway. The audiences are smart, they're educated. They go in ready and they're up for it, they're up for the party. It's a whole different atmosphere.

People do still cheer for the President. And some of the military audiences are more likely to cheer than others. I have seen him speak lately in front of groups like Freedom House, where the applause was a long time coming.

I think audiences deserve the benefit of the doubt. I prefer to be surprised by them rather then just assume they'll react negatively to any new idea.

There can be no doubt about this. It even held true for the soldiers involved in the Kosovo War. For the soldiers stayed mostly in their barracks! In this way, polar inertia has truly become a mass phenomenon. And not only for the TV audiences watching the war at home but also for the army that watches the battle from the barracks.

Audiences tend to get the performances they deserve.

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.

If you look at the big entertainment industry and their pursuit of the bottom line profits in exchange for producing content and distributing that content and marketing that content to inappropriate audiences, that's a problem for me.

I can personally feel the relief myself in my audiences when I bring up Obama because there was a lot of anti-Obama sentiment out there before the capture of bin Laden.

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.

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.

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

The States still has the best audiences by far.

There is a business here first of all, as a company and secondly, the ability to make films that audiences want to see and wouldn't get the opportunity to see. It's exciting. That's where our whole thought process originated from.

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.

Different cultures have different audiences.

Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.

And lot of Asian audiences and reporters don't like me to act as a bad guy. But I think I want to become an actor, I want to try different way.

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.

Conflict is the basis of drama. I guess that goes back as long as time has existed as far as mankind is concerned, dating back to the Greek tragedies or the Old Testament. And violence is a form of conflict, so whether that's catharsis or whether that has some socially damaging effect on audiences - I suppose that would just depend.

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.

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

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

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.

Practice, practice, practice in speaking before an audience will tend to remove all fear of audiences, just as practice in swimming will lead to confidence and facility in the water. You must learn to speak by speaking.

For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.

Saying you're a pop group isn't saying very much. Personally, when I think of pop, I think of instant, accessible, catchy songs - I definitely identify our music as that. I think that by writing pop, or instant, accessible or hopefully catchy music, it shoes you into bigger audiences because it seems that more people like that music. I think the possibilities are endless if you stick to a simplistic short song; the music can be as wild and bizarre as you want it to be, as long as at the core of it, there's something really strong.

I think writers write for their consciences, they write for their own true audiences, for their souls.

Since the goal of my programs is to show audiences how humor can both help them heal as well as deal with not-so-funny stuff, I decided to discuss the events of the previous week, the pain all of us were feeling, and how humor and some laughter might be beneficial.

I find that, rather than the cities, I'm very lucky because the audiences that come and see me are very, generally speaking, truly kind, so I have a great time playing everywhere.

Audiences are my best friends. You never tire of talking with your best friends.

I feel that audiences are very sophisticated, and part of my challenge is to keep them engaged because they are so complex.

Onstage I have a natural chutzpa that audiences like. I'm out there.

We need to take a step back and realize that what happened in the 1950s, when he started his career, is exactly where we are today. Everything goes in a cycle, and right now, distribution is changing. Audiences might be kind of sick of these giant blockbuster movies with all these special effects where blue people are running around and the hero is some non-human entity. These are all great movies, but I think that there's definitely room for new voices to come out.

What's required is a kind of social media sherpa, who can find you the audience you seek, who can reach to them on the platforms where they are already congregating, and who can help promote in tasteful ways that fit the sensitivities of the networks where your audiences are found.

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

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.

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.

Stay true to your brand and true to your voice and audiences will respond to that authenticity with enthusiasm and passion.

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.

What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.

To have great poets, there must be great audiences.