Quotes About Audiences

I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.

I'm no expert in what country artists go through or how country audiences would react, but I'll say that the work I did to put myself in Will Lexington's shoes absolutely led me to believe that it would ruin his career. Meanwhile, I was getting lots of supportive messages saying, "Will Lexington should just come out! It's 2015 already, audiences are going to embrace it!"

Audiences of critical thinkers are my favorite kinds of audiences. There are jokes I tell in the show that don't get laughs unless I am in front of an audience of critical thinkers. Put me in front of a crowd of science teachers or astronauts! The guileless aren't our audience - it's the critical thinkers we love.

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.

Minimalism seems closest to the sophisticated storytelling of movies. Movies have really educated contemporary audiences to be the most intelligent, sophisticated audiences in history. We don't any longer need to have the relationship between one scene and the next explained. We will figure it out ourselves.

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.

I love audiences. My God, the best friends in the world!

There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.

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.

I became known for surprising audiences. Except now, if I surprise them every time, they expect 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.

In the tradition of the classic songwriter rooms like The Bluebird in Nashville, Strange Brew is a gift to the music community in Austin, for artists and audiences alike

Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.

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.

Certain audiences get the double meaning and some of the references and ironies, but there's definitely been shows where I feel like I'm not doing it well enough for it to come across as anything other than "oh, she's hot and she's dancing."

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.

ِِِِِِِِِِ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.

Why would you let [the TV audiences] build a habit of going to the cable networks? So I think they've obviously smartened up now, and they're not giving the summer to cable anymore.

I just want my audiences to be entertained and feel like they're part of the show. I want to show them a good time and create an experience they're going to enjoy.

Audiences are the same all over the world, and if you entertain them, they'll respond.

It's truly gratifying to see my films reach beyond a familiar public, to get a chance to move new audiences. It's nuts. It's extraordinary.

If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago.

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.

I'm really interested in violence. And I think there's an inevitably cinematic property that violence brings to the moviegoing experience. But one still has to be thoughtful and mature about how you depict it and how you think it through. You have to think about the effects that violence has on audiences, and it's deployed so casually that I think it's losing its meaning. And when things like violence and murder and the dehumanization of other people lose their meaning, then we're really kind of in a place where we have to reexamine and take a hard look at ourselves.

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

Broadcast TV is still the mothership and it will be for the foreseeable future. Audiences may be declining slightly but revenues are going up and profits are going up.

I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.

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.

Audiences know what to expect, and that is all that they are prepared to believe in.

Some writers take to drink, others take to audiences.

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 do like the low frequencies. It's from years and years of observing audiences when they hear a lower frequency coming from an instrument it tends to pull them in. You have to listen a little more attentively. High frequency instruments hit you so hard, after a while the ear has a tendency to want to shut down. And that's what happens. I've been able to observe very carefully how people tend to get very tired of listening to high frequencies a lot.

I really like writing from real-life experiences. Audiences seem to prefer the stuff I couldn't have made up.

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.

I tell the stories in front of audiences and wait for something to happen. It's similar to a standup comic doing his schtick for an audience.

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

So anyway, I really enjoyed the European audiences.

I still love it, every day. I get up and I love going to work. I love seeing it all happen, and I admire the people that we work with. I just hope that the films will continue to entertain audiences, as they have done for 50 years.

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.

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.

I have worked for YouTube like texting and driving because I was curious to test what's out there and how does it function, can I release something like about texting and driving to very young audiences, at the age where they do their drivers test? And the response was phenomenal, millions of people saw it.

I think actors have a greater responsibility when doing comedy. It's as easy as anything to get cheap laughs, but that's not the idea at all. "The slight trip syndrome," we call it. With tragedy one can get away with things a bit more because audiences don't always know how to react.

Audiences looking for a rich, textured, cinematic experience will be put off and disconcerted by an image that looks more like an advanced version of high definition television than a traditional movie.

Audiences deserve better.

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

What I have noticed which I'm not nuts about that the trend that a lot of shows are hiring the American Idol type of talent without real training and real technique and I think that audiences are smart and sometimes seeing that things are not as high caliber as they were before.

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.

To me, money is a means to do good. I reached a point in my life where I had enjoyed tremendous business success that afforded my family everything we could possibly want. My wife and I then decided that we could use our wealth to make a difference. So we created the Broad Foundations to do four things: to improve urban public education, to support innovative scientific and medical research, to foster art appreciation for audiences worldwide and to support civic initiatives in Los Angeles.