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.

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 can only do it if there's humour, wit, comedy and drama. If you can get audiences laughing and then suddenly turn them to tears... it's a weird way of making a living making people cry, but I think it's very exciting to be able to send audiences on a rollercoaster ride.

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.

We did two films [Kung Fu Panda], because the first two films were so embraced by the Chinese audiences we wanted to make something we could push further and since this is a co-production, it seemed like the perfect time to create something that felt native to Chinese audiences.

Nobody roots for people who presume success. You have to earn success, and success is earned by making a movie that audiences like and want to see more of.

I think the U.K. is an amazing place and has been extremely good to me. Some of my favorite and most-listened-to bands are from England. I have met many good people there and have been in front of some of the most loyal audiences I have ever encountered.

Great communicators leave their audiences with great clarity.

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.

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.

Audiences are so much more sophisticated than they've ever been. They expect a lot more. I don't think because it's an hour of your Thursday night rather than an hour and a half of your weekend that you should be gypped at all in quality.

I think audiences deserve the benefit of the doubt. I prefer to be surprised by them rather then just assume they'll react negatively to any new idea.

I'm at peace with myself. My film just may please audiences. At any rate, it's already a great prize to be part of just 16 films among all of the world cinema out there. I'm tranquil and satisfied.

Audiences tend to dig the earlier stuff by any given musician, and the artists themselves always tend to prefer the thing that they're doing now.

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.

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.

I love being in space. I love being challenged by great roles that a company like Marvel creates amazing movies that no only give audiences an adventure but also give us as artists an opportunity for us to be challenged to embody amazing, multilayered characters.

Macbeth is a very popular play with audiences. If you want to sell out a theater, just mount a production of Macbeth. It's a short play, it's an exciting play, it's easy to understand, and it attracts great acting.

Our film industry as well as the audiences are now open to unconventional pairings and subjects, which has aided my journey greatly.

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'm doing the same thing and it's a hundred times bigger and a hundred times better. So if your going to make a computer game off a movie, is it going to be like "Avatar" where it's going to be a prequel before Jake even got to the planet. You've got to be smart because audiences demand that.

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

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 don't really think that audiences are that much different. I think that a fan is the same whether you are from here or from Japan - you come to a show because you like the music. I don't really see much of a difference anywhere.

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

After each performance of an Austin Shakespeare production, audiences are invited to stay for a ten-minute discussion of the work. And this tradition continues in our New York run.

Political audiences are not fun.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

But it has also enabled me to find my feet as a lecturer and a reader of my own plays to audiences who like to hear them; and that experience of immediate appreciation gives greater pleasure and more stimulus towards further activity than even the most laudatory of reviews.

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

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

For better or worse, I've become the person the Adams Estate has entrusted to guide Dirk Gently into new mediums and to new audiences. I take that responsibility pretty seriously, which is, I'm guessing, where Ilias's comment about me being a "hands-on collaborator" (code for control freak) comment comes from.

The idea that women are innately gentle is a fantasy, and a historically recent one. Kali, the Hindu goddess of destruction, is depicted as wreathed in male human skulls; the cruel entertainments of the Romans drew audiences as female as they were male; Boudicca led her British troops bloodily into battle.

That literary-popular distinction is, in my view, vastly overstated. At the far poles there are clearly books that are purely commercial and purely literary, written for audiences that want to see the same thing enacted over and over and over again. But the middle is where most people read and most people write.

I feel very fortunate for audiences to have been so gracious as to allow me to do pretty much any role that I felt I could do. They let me play a president. They let me play a lawyer. They let me play a hit man. They let me play a father. They let me play Howard Saint.

I think initially, our audiences were filled with young men. You know, our initial audience was a lot of young guys who I think were trying to - who you played a bit of a big brother role for and were trying to sort out a lot of the same things right - soon as "Born To Run" hit, you know? So it was something that I worked pretty hard on.

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

I did a long concert tour in England and Denmark and Sweden, and I also sang for the Soviet people, one of the finest musical audiences in the world.

When critics or people judge, I think it's harder to make a commercial, pop movie than it is to make a pretentious art film. It's harder to reach millions of people and satisfy them and make them happy. These films kind of get ghettoized, this genre because there are so many big, big movies that are such big hits, but aren't any good. The audiences, they're not judging the style of the director, or the execution of the film. They're just looking to be entertained. They want to escape from their reality, and that's why we make movies, to get people to escape from the realities.

Science fiction is a way that I can go into the abstract, go into the imagination, and audiences are still willing to go along for the ride.

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 think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.

Generativity is a system's capacity to produce unanticipated change through unfiltered contributions from broad and varied audiences.

I feel audiences are not given enough credit for their intelligence.

I've seen racism in my audiences. For example, I've seen people laugh at every other group, but then clam up when it comes to their community. You can't laugh at everyone else and then not laugh at yourself. You shouldn't be at my show if you can't laugh at yourself.

I think audiences get too comfortable and familiar in today's movies. They believe everything they're hearing and seeing. I like to shake that up.

It was only in South Africa that I got over this shyness, though I never completely overcame it. It was impossible for me to speak impromptu. I hesitated whenever I had to face strange audiences and avoided making a speech whenever I could. Even today I do not think I could or would even be inclined to keep a meeting of friends engaged in idle talk.

It gets harder and harder to succeed and find audiences with the 500-channel universe, the remote control, and people being so trigger happy with that remote control. It just gets harder to get a foothold.