Quotes About Audiences

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

I detest audiences - not in their individual components, but en masse I detest audiences. I think they're a force of evil. It seems to me rule of mob law.

If you create a good story that has a lot of story value I think audiences like that. It's why they stick with the same TV show over and over.

Dissenting opinions are useful even when they're wrong. So instead of speaking to highly agreeable audiences, target suggestions to people with a history of originality.

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.

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.

Bonnie and Clyde became not just a big hit, but a movie that went through young audiences like a first slug of Scotch. It affected clothes, talk, manners. Though set in the thirties it had the feeling of 1966, the most dangerous moment in American young people remembered.

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.

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.

The great familiar musical works are always greeted by the audiences as ever welcome and beloved friends.

I understand why creative people like dark, but American audiences dont like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.

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.

No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.

I left the golden age of documentaries to go into the golden days of the 'CBS Evening News.' You could see that the audiences were eroding.

In a way, this is what the difference is between Hong Kong and Chinese cinema - Chinese cinema was made for their own communities. It was for propaganda. But Hong Kong made films to entertain, and they know how to communicate with international audiences.

As professional actors, it's our job to entertain our audiences while setting benchmarks for ourselves as well, creatively and intellectually.

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

Audiences just naturally hate me on screen. I could play a role in a tuxedo and people would think I was rotten. You can do much more with a villain part.

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.

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.

Western audiences can gain an impression of China from my films. This is an excellent channel for promoting China`s culture.

Whenever you think you're writing what other people want to hear from you, and that it'll be commercial, you're doomed to disaster. Writing has to be as truthful and specific as we can make it. The minute we think that we're reaching more people and pleasing them, we get general. And audiences sense that and turn away, shun us.

In the 1990s I got to play in a group that played in prisons in California. We would play in maximum security wards. It was infuriating. Those kinds of situations stick with me. We got to come in and play music for them because that's a way of caring, just offering something, a gift, basically. They're basically the most grateful audiences I've ever experienced, because nobody's giving them anything.

Audiences have kept me alive.

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 feel like there's an obsession with pace right now in theater, with things being very fast and very witty and very loud, and I think we're all so freaked out about theater keeping audiences interested because everybody's so freaked out about theater becoming irrelevant.

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

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

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

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

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

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.

I think American audiences are open to people with accents and different nationalities being on the screen.

Unfortunately, I think I'm going to be typecast in Hollywood as the kid who can cry. I don't like putting audiences through those emotional ups and downs. I don't want people to think Dana Hill is so depressing all she does is cry. But the parts are so good, I can't turn them down.

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.

I'm always aware of who my core audiences are and I serve that niche.

When I was on 'Dallas,' I was known to audiences of the '80s. And then when my sons, who are in their 30s now, were going to college, 'Dallas' was the cult thing to watch because it was being done on the soap channels, so a whole new generation saw it. And then I have the young fans that knew me from 'Step By Step' in the '90s.

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.

Media is very different from financial services. People are very fickle and very vocal. They believe that things should be one way and not the other. It's still very rewarding to build products for huge audiences. It feels like you're making an impact.

The British audience was very important to me. I have always looked away from American to non-American audiences and so this was important.

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

I don't like audiences, I prefer my mistakes in private.

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.

I think audiences have hit the wall with CGI and special effects. They have seen so many over-the-top events that they can't suspend disbelief.

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

When Shakespeare copied chroniclers verbatim, it was because he knew they were good enough for his audiences. In a more polished age he who could so move our passions, could surely have performed the easier task of satisfying our taste.

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.

It's been interesting to see how similar audiences in the East and West are, actually, and how it makes you realize that when politicians emphasize the differences between our cultures, it's usually because it benefits them more so than us.