Quotes About Audiences

You learn quite a bit about your film from test screening audiences. With both comedies and movies that are intense, you need to calibrate the film and see how audiences react.

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.

Audiences are audiences.

Diverse audiences can be just as misled as homogenous audiences.

The audiences are really different in general. Even in the same country or in the same city, from one venue to another, the audiences can be totally different.

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.

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.

When we'd suggested doing it, the Theatre Royal management had said, 'Nobody wants to see Waiting for Godot.' As it happened, every single ticket was booked for every single performance, and this confirmation that our judgment was right was sweet. Audiences came to us from all over the world. It was amazing.

I have spoken to expert audiences occasionally, but then no audience is expert over the whole range of things I want to explore.

A lot of times, when you're acting, you have to explain things to the audience, and it's boring work to do that. It's really hard to make that interesting. I like the discovery of characters. I think people are smart. Audiences are intelligent and can figure things out by just watching behaviors.

Instead of three networks you have three hundred or three thousand. Audiences are inundated with programming, and that sometimes gives them a sense of petulant entitlement.

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.

Excellent flatterers welcome attentive audiences; mighty potentates enjoy public praise. In the most pleasing situation, a flatterer would genuinely admire the flatteree, please that person, please other present company, be pleased to stagger rivals, and get something out of it: applause, promotion, a favor, reciprocal praise. Flattery is as social as a banquet.

I have a children's theater background, so I grew up performing for child audiences; it's sort of my specialty. I know the child audience pretty well - or felt like I did because I performed for them so much. I studied a lot about the child audience, about theater. So it was naturally a place that I gravitated to.

On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.

Acting is trying to be absolutely truthful; to get audiences to believe that you are a dean, when, actually, not only are you not the dean, but if you walked into the building they'd probably throw you out. That's very hard.

The critic is the duenna in the passionate affair between playwrights, actors and audiences - a figure dreaded, and occasionally comic, but never welcome, never loved.

I personally have more faith than the average writer in people's willingness to be complicated, and so I'm thrilled by what's happened. I'm elated at audiences' willingness to handle complexity. In some sense, I feel like my belief in what people are capable of is being validated.

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

To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.

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.

Folklore is always changing and evolving for new 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.

We were telling, and frankly the media didn't take it seriously, during the time when we tried to point out that Debbie Wasserman Schultz was biased. She scheduled debates at times that didn't draw huge audiences, I believe, and many believe, because she didn't want Bernie to have a larger exposure to the voters.

Playing to bigger audiences at festivals got me in the mindset of writing music that I would sing to a crowd.

Audiences feel no hatred from me. Because I'm not bitter.

There's a weird loneliness that comes with being a comedian, especially standup. Even with improvisers, I think there are certain moments of truth where you feel really, really connected to audiences, and that's when you're on stage. I think there's definitely something inside the personality of a person who wants to be a comedian that's looking to connect at all times. That's where the adrenaline rushes in their lives come from.

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.

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

Some audiences can shake and bang their heads on the stage to riffs all night long, but subtlety is an art that must be mastered if you're going to be remembered.

The club shows are really intense and powerful, but for a shorter time, and the audiences are in close proximity than when I'm performing at The Palace Theatre.

Audiences can be very judgmental.

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.

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.

Timothy Spall - best known to mainstream audiences as Wormtail in the Harry Potter series - delivers an Oscar-caliber tour de force reminiscent of Charles Laughton

The best shows have a clear idea of what they want to achieve, where the performers have the ability to disrupt normality and engage directly with audiences of all ages. A company who can do just that (apparently effortlessly) is dotComedy.

Horror audiences don't need to see some TV actor they're familiar with.

I am just glad that I can take the music to the people who want to hear it. I love my audiences. I am deeply indebted to them for giving me the chance to sing my concerts, make records, and do what I love. Whatever people call it, it is great to have a voice!

Gene Wilder characters wanted to be calm, but to the great delight of audiences, they rarely succeeded.

When I was a kid, I remember the first Batman, the first Superman comic books when they came out, thinking how great that was and wouldn't it be great to see a movie like that. They did some cheap serials, but they're not the same as today. But I think younger audiences would like to see a real hero also.

To get audiences to go see a film is a completely separate issue.

If you check your ego at the door when it comes to comedy, you've got a pretty good shot at making a great movie that you can commit yourself to, you can jump off the proverbial cliff with, and have a great time, and the audiences respond to that.

Audiences may be stupid, but they are never wrong.

TV is such a success nowadays because it gives back in a way that features can't. If you go to a film, you only get two hours of great storytellers and performers, and you pay top dollar for that. If you're subscribing to premium channels and you're getting all of these amazing TV shows, and you're watching them as you want, where you want, when you want, on what you want, I think that is the "the golden era of TV" in what television shows are offering to audiences. We're giving them a lot more. It's quality.

I am concerned that a film without an large advertising [budget] can not establish a connection with contemporary audiences, of course.

I don't like being in the UK for every other reason aside from the show. It's aesthetically uncomfortable to me on almost every level for reasons that might sound petty but I can't get past. The audiences are far more challenging and while I wouldn't say I prefer it, I certainly need it to ward off my inherent laziness.

The problem with comedy audiences - it's like the Coliseum - when they see someone struggling, they don't feel altruistic towards them. They feel slightly repulsed by it.

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