Quotes About Audiences

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!"

American audiences are just the same as any other audiences. Except a bit more boring.

You can't make theater happen without actors. The actor is the central ingredient in making theater happen. Audiences may come to theaters to see the work of stage managers, directors and producers, but the only people who can communicate theater magic to audiences, through ideas and emotions, are the actors. They are the only ones who can communicate this by themselves, and if necessary, they can get along without you. But you can't make theater without the actor.

Audiences want to see them, and in fact, they earn money. The world is round, people.

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

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.

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

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.

American audiences don't react in the same way as European ones to African music because, I think, Europeans listen to this music through all the festivals that exist here.

People do still cheer for the President. And some of the military audiences are more likely to cheer than others. I have seen him speak lately in front of groups like Freedom House, where the applause was a long time coming.

Bonnie and Clyde became not just a big hit, but a movie that went through young audiences like a first slug of Scotch. It affected clothes, talk, manners. Though set in the thirties it had the feeling of 1966, the most dangerous moment in American young people remembered.

Audiences and, to a large extent, critics who want less from theater than it is possible for it to give. If everybody's encouraged to want less, you'll end up with less.

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.

My mother was electric onstage, and I vividly recall the extraordinary power she had over her audiences

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.

The solo years have been more meaningful to the audiences than the Smiths years, but the press in England only write about me in relation to the Smiths era.

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.

And lot of Asian audiences and reporters don't like me to act as a bad guy. But I think I want to become an actor, I want to try different way.

India went through a dramatic revolution after the '90s when our economy started opening up for the first time and Indians were now experiencing the Western life, if you will. Drugs and sex and a lot of those influences came in as the economy stabilized, and we were growing up and experiencing that. The Indian writing market was very small at that time. Our literature was very attuned to what Western audiences were interested in, so everybody was writing about the slums in India and magic realism or stories about Hindus and Muslims and partition.

Designers from start to finish now in digital media have to think in a much more sort of thoughtful serious and humble way about how design audiences will receive their products.

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

Conflict is the basis of drama. I guess that goes back as long as time has existed as far as mankind is concerned, dating back to the Greek tragedies or the Old Testament. And violence is a form of conflict, so whether that's catharsis or whether that has some socially damaging effect on audiences - I suppose that would just depend.

There have been some very extreme hecklers in audiences whose bile was so hateful and so meant that it would be a bit frightening to think that all I'm doing is jokes and yet someone hates me that much.

Audiences feel no hatred from me. Because I'm not bitter.

I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.

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.

If Hollywood is the global producer for [media] products all around the world, that's of concern. If all audiences around the world know of America is what they see from Hollywood, then we're in trouble.

I think the role of the artist today is about being provocative. I don't mean shocking, but you have to provoke people into action. As an artist, you ask people for their time. It's the most precious thing anyone has. I'm asking audiences to come to my work and spend some time with it. What I'm really doing, of course, is asking people to take time for themselves.

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.

We try to keep it a classy show, but it certainly is blue at times. And it all depends on the audience, sometimes we've have audiences that don't really want us to go too far in that direction.

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.

When you start to see things that are well-executed you'll watch a lot of stuff in 3D and see the same scene again in 2D and realize, "Oh, my god, it's like you turned the color off or the sound off." Once you get used to it, I think audiences and the public will want more of it.

If something is successful with the audience, it's automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!

We're not like some of those 'Elvis' guys you see in the grocery store, buying their stuff while dressed in a white jump suit, that sort of thing. We love doing what we do, we appreciate and respect our audiences, we have a true love of The Beatles.

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.

Media is very different from financial services. People are very fickle and very vocal. They believe that things should be one way and not the other. It's still very rewarding to build products for huge audiences. It feels like you're making an impact.

Frank Capra, Hollywood's Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the 'Saturday Evening Post' covers of Norman Rockwell. 'It's A Wonderful Life,' the latest example of Capracorn, shows his art at a hysterical pitch.

I just play to progressive audiences. You know, if they're watching Discovery Channel, History Channel, that kind of thing, "Monty Python" have already laid the groundwork. They're known around the world. People like that kind of surrealist, left-field humor, and that's what I do. And "Saturday Night Live," a lot of American humor. "The Simpsons," above all, the weird, left-field humor, which I love. And sardonic. So that's all I'm doing. I find that audience, and they're in every developed country around the world.

I still make music. I still write music and I record music, I just don't trust music promotion [and] distribution right now enough to record a new set of diligently worked-upon compositions. I do trust the audience and the audiences very much.

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.

I'm interested in the theater because I'm interested in communication with audiences. Otherwise I would be in concert music.

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.

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.

I would love to be a guest on a talk show or a panel that shows women who have been on reality shows who've had success, to prove to audiences that you don't have to be a fool to become successful.

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.

Clearly, audiences are very accepting of A-list talent both giving them what they want - Tom Hanks is the most classic example - and then going on, from time to time, to do things that are unexpected. That's part of what makes people want to go to the movies and not just sit home.

Nobody who comes out of the movie [Aquarius] focuses on those [sexual] scenes, because they are not the heart of the film. They are a consequence of the story, but I don't remember hearing audiences talking about them afterward. They came out discussing themes of resistance, history and memory. They're talking about the beauty of the self and how it can become demolished.