Quotes About Audiences

I think the painted backgrounds in animations are absolutely stunningly beautiful. There's something really special about this medium. I don't believe audiences have grown past it. I think what audiences love is to be entertained-thoroughly, deeply entertained, and that's what I've always set out to do.

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.

It's a privilege. It's a real honor. It's a challenge. Michael and I always feel we stand on tall shoulders when we make these films. Audiences come to them with a lot of good will because of what's come before. We just try to make the best film we can, each time, and hope that we satisfy the fans. I'm sure, with Skyfall, that we will. I think it's a terrific film. I hope the audiences enjoy it, as much as we've enjoyed making it.

There's a forgiveness that literary audiences will give you that film audiences don't give you. It's the two hour construct. You're in there and it needs to climax and finish.

I make American films for American audiences and Asian films for Asian audiences.

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.

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

I love to play for audiences that are simply made of people rather than so-called special people.

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.

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.

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.

Audiences tend to get the performances they deserve.

I have a children's theater background, so I grew up performing for child audiences; it's sort of my specialty. I know the child audience pretty well - or felt like I did because I performed for them so much. I studied a lot about the child audience, about theater. So it was naturally a place that I gravitated to.

The foreign audiences are somewhat surprised and happy to find an American film that asks questions about American culture. There's a certain kind of cultural imperialism that we practice. Our films penetrate every market in the world. I have seen and have had people reflect to me, maybe not in so many words or specifically, but I get the subtext of it - they're somewhat charmed and surprised and happy to see an American film reflect on our culture. Because they see other cultures reflect on our culture but they don't see US culture reflecting on itself in quite the same way.

On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.

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.

[David Milch] had say, "You have to understand that our history of western movies, what we've been doing in westerns since the movies began to talk, you had audiences that would be offended by certain things, and there was a cleaning-up of the way people spoke."

Acting is trying to be absolutely truthful; to get audiences to believe that you are a dean, when, actually, not only are you not the dean, but if you walked into the building they'd probably throw you out. That's very hard.

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."

Audiences aren't going to get rid of me. One thing I can say, with absolute certainty, is that my shows will still be performed when I'm dead, buried and forgotten. They're going to absolutely outlive me, which is a wonderful thing to think about.

In a way, this is what the difference is between Hong Kong and Chinese cinema - Chinese cinema was made for their own communities. It was for propaganda. But Hong Kong made films to entertain, and they know how to communicate with international audiences.

I often joke with my audiences that I make most of my income on a ski pole. People smile but they get my point. You need to make time for your genius to flow. We get our creative bursts, those idea torrents that take our business and personal lives to the next level, while we are skiing or drinking coffee in a Starbucks or walking in the woods or meditation with a sunrise. Those pursuits are not a waste of time. Creativity comes when you are relaxed, happy and enjoying the moment. And when it comes, it brings ideas that rock your world.

'Frozen' definitely isn't about a man, but about the relationship between two sisters. At different times in our lives we find ourselves either more connected to or disconnected from the people in our family, and I think audiences will really be able to relate to that.

I hope that audiences respond really positively. I think it's a very intense, entertaining film [The Last King of Scotland], because you're brought in on a fun ride, and slowly you fall into it as James [actor James McAvoy's character, Dr. Nicholas Garrigan] does. Nicholas is like the audience. I think it's a good ride for people. And you learn something, as well.

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.

Some of our most powerful works of art have been produced by older Americans-by hands that have engaged in years of hard work, eyes that have witnessed decades of change, and hearts that have felt a lifetime of emotions. Our whole society benefits when older Americans use their talents and experiences to become involved in the arts as creators, teachers, mentors, volunteers, and audiences.

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.

On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.

I think the American people want to see the interactivity between candidates and audiences, and tough questions posed by people and how you handle them under fire.

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.

In the 1990s I got to play in a group that played in prisons in California. We would play in maximum security wards. It was infuriating. Those kinds of situations stick with me. We got to come in and play music for them because that's a way of caring, just offering something, a gift, basically. They're basically the most grateful audiences I've ever experienced, because nobody's giving them anything.

I'm not a popular actor. I don't necessarily want to be famous. I want to be known for great work. I want to be known to surprise audiences.

The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually.

A lot of television tends to assume that audiences don't have the attention span or the IQ to follow a lot of stuff.

English audiences of working people are like an instrument that responds to the player. Thought ripples up and down them, and if in some heart the speaker strikes a dissonance there is a swift answer. Always the voice speaks from gallery or pit, the terrible voice which detaches itself in every English crowd, full of caustic wit, full of irony or, maybe, approval.

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'm interested in cinematic realism. I think there is a rich potential to bring to audiences people they haven't seen before, that they are discovering a bit like how we discover people in life for the first time. There's an authenticity that can't be denied.

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.

If a show is good, it helps people learn about themselves, in some way and in some function. Whatever the genre is, if it's executed well, audiences grow and learn from it, and that's where their passion and enthusiasm comes from.

Political audiences are not fun.

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

Costumes and scenery alone will not attract audiences.

I think the Harry Potter movies are proof that audiences love that stuff. They love the idea of magical objects and they like learning the rules of those objects and what they do.

You hear again and again that audiences want to see movies that are different and critics say we [directors] make the same thing again and again in Hollywood, then you go and make something different and you get kicked in the gut for it.

I think American audiences are quite interesting in that they can handle almost any amount of violence, but the moment the violence becomes sexual violence it immediately becomes an issue.

Socialization would be the most successful thing to bring mainstream audiences to online computers.

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.