Quotes About Audiences

London audiences are tricky, too. They don't laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.

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.

It's a privilege. It's a real honor. It's a challenge. Michael and I always feel we stand on tall shoulders when we make these films. Audiences come to them with a lot of good will because of what's come before. We just try to make the best film we can, each time, and hope that we satisfy the fans. I'm sure, with Skyfall, that we will. I think it's a terrific film. I hope the audiences enjoy it, as much as we've enjoyed making it.

Diverse audiences can be just as misled as homogenous audiences.

There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.

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

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 love to play for audiences that are simply made of people rather than so-called special people.

He was resentful against all those in authority over him, and this, combined with a lazy indifference toward his work, exasperated every master in school. He grew discouraged and imagined himself a pariah; took to sulking in corners and reading after lights. With a dread of being alone he attached a few friends, but since they were not among the elite of the school, he used them simply as mirrors of himself, audiences before which he might do that posing absolutely essential to him. He was unbearably lonely, desperately unhappy.

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.

If you have superheroes or characters that exist in the same world, and you're doing movies of them, wouldn't it be fun to put a couple of them together in one movie? Audiences love that. It's a natural thing to do that.

Some audiences might find homosexuality an uncomfortable subject matter, and a character who is a Japanese collaborator is always uncomfortable.

You know what I miss? The energy of live audiences, because there's no substitute for that exchange that you get in real time when you're sharing a moment, a same with people who are in that same time and space with you. I really just love that. I enjoy it when I get to travel and make speeches now. I like that a lot too. But that's probably the thing that I miss the most about hosting my own show.

Audiences tend to get the performances they deserve.

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.

I split it up into working on the two narrative pieces that can tell a story. The scariest thing was whether I'd be any good performing live again. It was such a long time since I'd done any live work. It's so different for me than recording. Every night my audiences were what I would dream of. You could just feel their support.

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.

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.

If there are some who talk the same language as myself, then why should I neglect their interests for the sake of some other group of people who are alien and remote? They have their own 'gods and idols' and we have nothing in common. ... If you try to please audiences, uncritically accepting their tastes, it can only mean that you have no respect for them: that you simply want to collect their money.

Barack Obama's a politician, I'm a pastor. We speak to two different audiences.

I think you've got to take the risks. There's no point playing it safe, because either you'll get bored or the audiences will get bored. Sometimes, you're going to make mistakes, and that's fine, but you have to take the risks. I think Pirates is one of the prime examples of that with Johnny Depp's performance, and part of the reason that people love it so much is that you watch it and go, "Gutsy, really gutsy!"

Teaching physics at the University, and more general lecturing to wider audiences has been a major concern.

Audiences are hungry for something different. With binge-watching, they're hungry for interesting content they haven't seen before, and they want to be entertained. A lot of shows are grim, murky and dark. We wanted to spin away from the obvious, the tropes, the cliches and what people are doing right now, and do something different.

There are two kinds of audiences. There's the ones who were in the theaters, and the ones who are outside and we want them to come inside the theater. And, it's not the same.

Well, because we're talking here about people who've been ordered deported and the administration has done nothing about actually making sure that they go home. This is theater, I think, for two audiences - one probably for the American public to some degree, to make it seem as though the administration is taking this renewed surge of Central Americans seriously.

The audiences like to think that satire is doing something. But, in fact, it is mostly to leave themselves satisfied. Satisfied rather than angry, which is what they should be.

I think the American people want to see the interactivity between candidates and audiences, and tough questions posed by people and how you handle them under fire.

[Action's] a Western thing. We think of the hero going into battle, rebelling against a government or an oppressor, but [in KUNDUN] action is nonaction or what appears to be nonaction. That's a hard concept for Western audiences. . . . We wanted to show a kind of moral action, a spiritual action, an emotional action. Some people will pick up on it; some won't.

Folklore is always changing and evolving for new audiences.

There's nothing better than being in a film that translates to audiences and makes people think and feel good and walk away with great revelations in their own life of some kind. But when the process and the experience and the fun of that matches, it's a good feeling.

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.

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

Audiences have kept me alive.

I think of my shows as family reunions. I give 100% every time. I just do. It's a huge therapeutic release. Also I love my touring family. And I love my audiences very much.

I look for every opportunity to mix comedy and horror and tragedy. I love catching audiences off-guard.

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.

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.

I like live audiences, with real people - virtual reality is no substitute.

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

Our audience, it has been a more difficult process for classical music audiences around the world, and I'm not completely certain why.

I make movies that audiences like, that I'd want to see. That's all.

I love watching audiences scream. I imagine it's the same joy that a director feels who has made a comedy when he or she is sitting at the back of a theater listening to the audience laugh. That sound of laughter is so sweet to a comedy director and that's exactly how a horror film feels when you hear the audience scream.

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

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

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.

I felt audiences are happier to take comedy people who play darker people because there's a link between the psychosis of comedy and the psychosis of being a twisted character.