Quotes About Audiences

TV can reach broad audiences, mass audiences, niche audiences; it can be local, regional, national; it can be spots, sponsorship, interactive. It can be anything you want it to be. I tend to think of TV as the Swiss Army knife of media, it's got something for everybody.

I love interaction with audiences. If were my choice, I would spend most of my time interacting with audiences. Walking around and asking them to challenge me.

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.

That's what I love about Michael Douglas' performance in Wonder Boys, because I feel like he surprises audiences that know him from very different roles in his other work.

If the networks can get audiences to tolerate pop-up promos by the dozens, maybe they'll start selling pop-up commercials, too.

I want my audiences to be as open-minded as my characters.

Great communicators leave their audiences with great clarity.

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

Every day in this industry is an experience in itself and I try to work hard not to let anyone down. It is a great feeling, but it does come with responsibility towards your colleagues and the audiences

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.

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.

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.

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

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 perform regularly with a theater company called Outside the Wire who take performances of Greek tragedy to American-military audiences around the world to create discussion about PTSD and soldier suicide. It's one of the greatest things I've ever been asked to do as an actor.

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.

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.

We have to find new ways to work without permission, new ways to turn corners and go through doors that are closed off to us to create our own audiences and our own material independently.

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.

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.

I feel so lucky that I've been on shows that have been by and large critically acclaimed and that audiences like it.

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.

Audiences can tell when you're being fake and they will eat you alive. But if you're doing something authentic they will connect to it and that can lead to commercial success.

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

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

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.

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

As an actor, you know when you've got great material in front of you. When you're working, you think, 'Is this the one? The one that everyone will respond to and be moved by?' You pray that you have told the story well... that your peers will see it and audiences will love it.

Folklore is always changing and evolving for new audiences.

What happens online is you are constantly dealing with invisible audiences.

White folks are the luckiest people: Finally a black president and he's a behaved one. Went to the best schools, best colleges, never raises his voice. I ran for president in 1968. I tell (audiences) if I won, I would have dug up the Rose Garden and planted watermelon!

Audiences have kept me alive.

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

So much of the humor on new sitcoms plays to the lowest common denominator. Wit isn't nearly given as much attention as slipping on a banana peel. So much of the writing is so coarse, so obvious that it doesn't provide a shock, never mind a laugh. What makes something funny is alluding to it without laying it out explicitly. You let the audiences fill in the gaps and that's where the laughs come.

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.

Political audiences are not fun.

We don't play to be seen. I'm addicted to music, not audiences.

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

You think about taking audiences on a journey.

If it's a low-brow bawdy comedy, it's got to stand the chance of succeeding as such. If it's an intellectual piece, a drama, and so forth. And of course, once you've determined the level of the piece, do it the best you know how. And then don't make concessions. To audiences, or to pursestrings, or whatever.

I want to do what I want when I want to do it not be dictated to by audiences.

For four years, we didn't do any 'Halloweens,' ... But I believed in it. It's not a genius creation or anything. But whenever Halloween season comes around audiences want something like this.

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.

In the old days villains had moustaches and kicked the dog. Audiences are smarter today. They don't want their villain to be thrown at them with green limelight on his face. They want an ordinary human being with failings.

Audiences grew to like this duality of feeling, where youre both championing a character and youre revolted by them.

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.