Quotes About Audiences

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.

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.

I have often felt that I cheated my children a little. I was never so totally theirs as most mothers are. I gave to audiences whatbelonged to my children, got back from audiences the love my children longed to give me.

Audiences are audiences.

I'm finding myself very comfortable talking to medical audiences, and proving to them that underlying the material fields of the universe are force fields.

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.

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.

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.

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.

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 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.

With stand-up you've just got that one chance. Audiences can be quite fickle.

What I love about the 'Alien' franchise is I would do all kinds of films - dramas, comedies, whatever - and every now and then I'd be in this science fiction blockbuster that would re-introduce the character and me to a lot of audiences around the world and allow me to go back and do the smaller films again, so it was really a good balance for me.

When I got to LA and was with the James Gang, I got the opportunity to write a lot, to play in front of large audiences, make some money.

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.

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.

Writers in the nineteenth century - people like George Eliot and Flaubert - were accustomed to addressing particular communities with which they shared not only linguistic meanings but also an experience and history. Those communities have progressively split in the twentieth century, and grown more heterogeneous, and writers emerging from minority communities have found themselves addressing audiences closer to their experience and history - a phenomenon derided by conservative white men as identity politics and multiculturalism in the arts.

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.

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.

Australians just don't see that many Australian films, but it's also our responsibility as filmmakers and the responsibility of the funding bodies to remember that audiences want to be entertained, and people are entertained in lots of different ways.

Big players want to play in front of big audiences.

We're starting with our own carbon footprint. Not nothing. But much of what we're doing is already, or soon will be, little more than the standard way of doing business. We can do something that's unique, different from just any other company. We can set an example, and we can reach our audiences. Our audience's carbon footprint is 10,000 times bigger than ours... That's the carbon footprint we want to conquer.

Some writers take to drink, others take to audiences.

I need an army. I need people out there who are either preaching with me to different audiences that I can't get to or who are implementing the work and helping people actually learn their why or practice their why or implement their why because I don't do that.

In Northern Estonia, the Soviet authorities didn't have a recipe on how to fight against the popularity of Finnish TV. Audiences didn't want to watch hardcore Soviet propaganda.

I think that will be a lot of fun for audiences to get the same stream of consciousness that was going through my head at the time. It was very exciting to suddenly recall what I was feeling at the time.

I guess any movie actor can become a role model for audiences out there who enjoy him.

Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.

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.

Lenny Bruce is a very moral man trying to improve the world and trying to make audiences think

The fact is that Hollywood, from as early as the sixties to the present time, has ghettoized cinema into the big industry, a marketing industry. In doing this, the audiences have lost touch with the aspects of film which were to be informative and educational and even spiritual.

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

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.

The films I like to watch are when they make it relatable to human audiences.

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

My book, Oral History: Understanding Qualitative Research is about how researchers use this method and how to write up their oral history projects so that audiences can read them. It's important that researchers have many different tools available to study people's lives and the cultures we live in. I think oral history is a most needed and uniquely important strategy.

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

There are several key pieces to keeping audiences engaged, and the evolution of that. One of them is a content ecosystem, which is leveraging and utilizing as many different platforms as you possibly can to continue to drive the conversation so people have the opportunity to enter your brand from different ways.

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.

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

I have many enemies and they all think I'm being highfalutin calling it performance, but the word "reading" has a connotation of something academic with the lights on and you're going to get a lecture. I'm looking to blow my audiences away by giving a fine, dramatic performance and reminding them of why they love stories.

You've got to have a sense of different audiences. I'm a kind of performer manque - I come from a long line of failed actors!

Audiences don't ever disappoint me, in the sense that movies I feel really good about, they usually feel really good about too.

The basic function of a comic is stand-up because it's so straightforward and simple. If the audience don't laugh, you didn't do your job. I've had some audiences where I didn't care if they laughed or not because they were either too drunk or stupid.

I found out a long time ago that if I didn't have a good story for a song, I could just make one up! Now it seems over half the stories in my show are made up. The funny thing is, those seem to be the ones that resonate the most with the audiences.

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!

American audiences tend to be more expressive than British ones.