Here, we’ve compiled a list of the best Audiences Quotes from famous authors such as Steve Erickson, Laila Robins, Nancy Dubuc, Pauline Neville-Jones, Kelsey Grammer. Let’s look at these pieces of wisdom. We definitely have something to learn from them!
Beautiful women get in Hollywood’s door quickest and then are shut out when their beauty no longer measures up to whatever it is that Hollywood or audiences decide is beautiful enough; once they’re inside, their choices are limited by the same beauty that won them their entree.
One day, when I was 33, I shifted. I suddenly saw acting as a higher calling. I understood that my goal was to serve the play. And I realized if an actor can make audiences’ hearts resonate or make them question their values – that’s an important thing to do!
If you’re going to be a media brand and not just a linear television brand, then you have to make sure you’re speaking to all women and all interests, so it may mean that you end up smaller audiences serving individual pieces of content, but the aggregate is what’s important and what we’re paying attention to.
The BBC’s television, radio and online services remain an important part of British culture and the fact the BBC continues to thrive amongst audiences at home and abroad is testament to a professional and dedicated management team who are committed to providing a quality public service.
Iago is one of the most liked characters in Shakespeare’s canon, and he’s the most evil, most extraordinarily manipulative person in history. He says the worst, most politically incorrect things, even for the time the play is set in – and yet audiences adore that character.
In the fact that ‘Vogue’ is someone that can help guide enormous audiences through this fascinating world, I would like to think we are as influential and actually are now reaching so many more people than we ever dreamt of back in the Fifties or the Sixties.
I think American audiences are open to people with accents and different nationalities being on the screen.
Christopher Reeve did such an amazing job that to give him some kind of accent or more bravado would have been wrong. Audiences wouldn’t have responded to that either.
I can never say that I don’t want to work anymore. That would be an absolute lie because I enjoy, I take delight in, working in films because I feel it’s an honour, you know, to entertain people, to regale audiences.
I find that Bach is appealing to a lot of different audiences. It really hits people at their core in different ways, but it also creates a meditative space. I just feel like I can play it, and it reaches people.
When you see the audiences and the smiling faces at the shows it really makes up for the work that you put in. I have a job I really love so whatever hecticness comes up – I’ll just deal with it.
You finish a film not in the editing, but in the conversations that audiences have with themselves – and in that sense, every viewer is making a slightly different film. And that’s wonderful.
Audiences are brutally honest nowadays. If they don’t like an actor, they have all the right to write him off.
If you look at the big entertainment industry and their pursuit of the bottom line profits in exchange for producing content and distributing that content and marketing that content to inappropriate audiences, that’s a problem for me.
I do think that, yes, one should always be receptive to the fact that there are many different types of audiences, and they are not necessarily in a clean, reductive demographic like they once were.
Richie’ will show a very unique style of storytelling to the audiences.
I tend to believe that audiences are relatively well-balanced people.
‘Rudhramadevi’ is a film which falls into a very new genre. It is a historic and biographic genre movie. It should be called a bio epic. I am curious to see how the audiences accept the film.
Audiences always sound like they’re glad to see me, and I’m damned glad to see them.
Our approach is not to look at the successes of other people and try to repeat those successes. We don’t look at the success of ‘Grand Theft Auto 3’ and think that maybe if we create games for older audiences will see a similar success.
The white audiences thought I was white, my features being what they are, and at every performance I’d have to take off my gloves to prove I was a spade.
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.
Audiences have grown to equate being startled with being scared, and will complain that a movie ‘isn’t scary enough’ if it doesn’t have enough jump scares… so that means that a lot of studios will insist on shoving jump scares into a movie, regardless of character or story structure, thinking it ‘makes it scarier.’
After our life history was shown on the silver screen and much appreciated by the audiences, I have more of a responsibility on my shoulders now.
It’s incredibly fun as an actor to get to play different styles and different genres for completely different audiences.
Audiences want to see something interesting. It doesn’t matter which genre or period it belongs to.
My journey is different from other star brothers, kids, or sisters. I think that is one of the main reasons that people don’t question me on this. So far, the media and the audiences have not really roped me into the ambit of nepotism.
If you start writing to an audience you’re talking down to them. I’ve never written for any age group, I just write character. If you can capture that you’ll get the audiences, and it will be a wide range, as it is for ‘Twilight,’ it’s a pretty wide range.
We’d go to studios with ideas to do movie musicals and they’d literally kick us out. They said, ‘Audiences aren’t interested in movie musicals. You’re wasting our time.’
Lenny Bruce is a very moral man trying to improve the world and trying to make audiences think.
I really enjoy playing America. I like the audiences there. It’s the home of a lot of music I grew up with.
When scoring music, the idea is to ensure that your song makes it to the playlist on your audiences’ music player and stands out from the multitude of songs released every day.
I’m excited for the audiences to hear the title track, ‘Cheers to the Fall,’ plus ‘Red Flags’ and ‘Rearview.’
It works in the comic book, but as the audiences have gotten older and more sophisticated, I think the stories need to grow up with them. This is a story about a couple of rival gangs and what goes wrong in a couple of days.
Live action movies are someone else’s story. With animation, audiences can’t think that. Their guards are down.
I think audiences sometimes mistakenly assume a quality performance comes from some great emotional disturbance rather than really intense concentration. Concentration and flow is what it’s all about.
I really like reaching out and seeing the audience – they’re potential audiences! And on occasion I can make them excited about going to the theater again, if they’ve ceased or gone less.
In the West, audiences think I am a stereotyped action star, or that I always play hitmen or killers. But in Hong Kong, I did a lot of comedy, many dramatic films, and most of all, romantic roles, lots of love stories. I was like a romance novel hero.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers’ intellectual and emotional attention.
My audiences have given me lots of love as a tennis player. I hope they appreciate my passion for acting.
My audiences love watching my films.
Every decade or so, Hollywood has an epiphany. It turns out faith-based audiences enjoy going to the movies, too.
Even in the case of a god, audiences – paradoxically – enjoy recognizing the human traits.
Audiences want and need a shared viewing experience.
To me, ‘Blackberry Way’ stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.
My audiences are generally mixed. Some people like techno, others are into the pop music, and others enjoy my film music.
I want every movie to have a big audience. I’m always hopeful that it’s going to be discovered, and audiences are fantastic that way because every once in a while they surprise you. I didn’t think ‘Beautiful Mind’ was going to be that kind of global success.
I’ve always seen myself as one of those ‘show people.’ My earliest memories are wanting and needing to entertain people, like a gypsy traveler who goes from place to place, city to city, performing for audiences and reaching people.
Those of us in the industry who are still foolishly clinging to the idea that female films with women at the center are niche experiences – they are not. Audiences want to see them and, in fact, they earn money. The world is round, people.
I think Japanese audiences are much more attentive than a London audience.
Teaming up with Adaptive Studios and Shudder is a wonderful opportunity to support emerging filmmakers in finding the new horror icon. This is also a great chance to scare and entertain audiences at the same time.
I am now confident about attempting a Hindi film. I believe if you have a good story to tell, audiences will watch it.
I want audiences to see me in different avatars.
Some writers take to drink, others take to audiences.
‘Free Solo’ has got nothing to do with politics, so to speak, but why are audiences responding to it in the degree that they did? I think it’s because we give people an opportunity to see someone. Also, he’s able to connect when you don’t think he could connect. It’s a respite.
You have to understand that you are not making the film for yourself; you’re making it for the audience. If I am asking my audiences to buy tickets, I owe them the worth of their money, and I owe them entertainment.
Audiences like to see the bad guys get their comeuppance.
Tom Stoppard, the English-speaking world’s brainiest playwright, thinks that British audiences have grown too dumb to understand his plays.
American audiences tend to underappreciate the British, but 240 years ago they were us: They were the most powerful nation on Earth. Their mercantile empire spanned the planet. They had the most potent and experienced army and navy the world had ever seen.
I still have a reputation as an eccentric. But the fact is that audiences probably mix up my roles with me as a person.
Often audiences vary… but I’ve always found Milwaukee to be a fabulous place to play with great audiences and very hip.
We continue to see summer as a great place for unique concepts, innovative business models, and passionate television audiences.
Ethnic sensitivity both on-camera and behind it demonstrates a corporate understanding of the benefits of diversity and a genuine respect for the audiences’ needs.
All audiences should be slightly off balance.
There’s traditionally been a large disconnection in contemporary art between the audience and the artist. Generally, audiences are looking towards what they like, and I can tell you, that’s the last thing on an artist’s mind.
It is rare for an artist to get acceptance by the north as well as the south audiences, and I have thankfully managed that.
Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.
With every film, I try and give the audiences a little more than the previous film in terms of comedy, action, drama and so on.
With ‘Outlander,’ definitely the book fans were at the door, ready to go, as soon as we started. But it felt like it kind of crossed over into more of a general audience rapidly. That did surprise me – I thought it would take longer for general audiences to come around.
I hope that audiences understand that there is a precariousness to black lives in this country that we need to address, that there has always been a precariousness to black lives in this country that we need to address. In fact, our country is built on the precariousness of black lives, the disposability of black lives.
I want to write songs people can sing along to. I can think of nothing more exciting than travelling the world and playing to audiences and having them sing your words along with you.
Movies are a fad. Audiences really want to see live actors on a stage.
I think I would say ‘The King’s Speech’ is surprisingly funny, in fact the audiences in London, Toronto, LA, New York commented there’s more laughter in this film than in most comedies, while it is also a moving tear-jerker with an uplifting ending.
People in the metros are busy making ends meet, but through my films, I like to give the reality of life a skip, and choose concepts which will give audiences a stress-free two-and-a-half hours.
Audiences have become so much more sophisticated, and they’re looking for different eyes and different ways to tell a story. And ‘Scandal’ certainly gives us the freedom to take those chances.
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.
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.
Vegas has the Whitman’s Sampler of audiences. They come from all different places, so you have to do some crowd psychology. You have to find the heartbeat of the room. It doesn’t shift my jokes, but it shifts my timing and my attention.
Audiences want to see intelligent movies.
What you want is the thing that critics love and audiences love, but that’s the hardest thing to do.
I have performed all over the world to packed audiences. I don’t have to be a trained musician to prove my singing abilities to my critics.
I love to play for audiences that are simply made of people rather than so-called special people.
I am happy with the response I am receiving for ‘Kaabil.’ Audiences’ love is what we work for, after all.
I kept having the producers of ‘Fog in August’ take out some of the Nazi terms and phrases. I don’t want audiences to look at this doctor and say, ‘He is a Nazi monster’ and think that it has nothing to do with our lives today.
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.
My audiences get younger all the time.
I enjoy being on CNBC’s ‘Fast Money,’ in part so that audiences can watch a woman who is as well informed about, and invested in, the market as her male counterparts.
I don’t know whether it’s audiences or filmmakers who want characters to be likable today, but I don’t think actors are afraid of their characters being unlikable.
Youku Tudou gives us the reach into China that we’ve been looking for, and we look forward to sharing even more content with international audiences in the near future.
A great horror film works as a communal experience more than almost anything else, except for maybe a comedy. That’s something that I’ve experienced, just taking this movie around and watching it with audiences.
Young readers are the most challenging, demanding, and rewarding of audiences. Adults often ask why I write for the younger set. My reply: ‘I can’t think of anyone I’d rather write for.’
For me, acting comes straight from the heart. In that sense I don’t act at all. I think that to feel the character’s pain I have to be myself. Somewhere audiences see that.
The American television industry is a Darwinian environment where success is usually measured in inches, not yards. That is, for most TV media, audiences have gotten so small that one measures ‘victories’ in tenths of a point – as in, a 2.2 percent share is a great leap over a 2.1 percent share.
Tribeca Film Festival Doha will be both an industry festival and an audience festival, not just an event for insiders. Community outreach will be a major part of what we’re doing. We’ll put filmmakers in touch with local, regional, and international audiences.
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.
The relationship between the media owner, their relationship isn’t strictly with people and audiences. It’s also with advertisers, and that’s the most relationship in radio; in fact it pays the bills.
I guess any movie actor can become a role model for audiences out there who enjoy him.
To look in the eyes of audiences and see the kind of naughty glee that they got with being on the inside, the audience becomes your co-conspirators.
Korean films have always been distributed to international audiences as arthouse films.
I normally don’t concern myself with, ‘Will audiences like me or like my character?’
The toughest challenge I faced came right at the beginning of my career with ‘Blood Knot,’ which was trying to convince South African audiences that South African stories also had a place on the stage.
Black audiences are probably the toughest for me to make laugh. I’ve gotten pretty good at performing for them, but it’s still a challenge.
I enjoy working on stage. Having relationships with the audiences and question and answer sessions afterwards. I enjoy that.
I can’t do the terrible mistake of thinking audiences are dumb and will accept anything I do. I want to be cautious about my choices.
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!
Disco told audiences to dance, while punk told them to be anything but passive. The artists didn’t mind; in fact, they encouraged it.
My readers and my audiences have turned into my followers. They are more than interested in what I have to say in the subjects of sales, loyalty, attitude, networking, business social media, and becoming a trusted advisor.
Fortunately, our audiences are used to a kind of boredom in the theatre, and if the writer is skillful, he will flatter them into thinking: ‘Why, that’s us up there, and aren’t we – for all our little foibles – pretty nice guys and gals?’
I understand why creative people like dark, but American audiences don’t like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.
I think one of the things that was a huge surprise to everyone with ‘Silence of the Lambs’ was that that was an Oscar-winning horror movie. It struck such a nerve with audiences that it was a very particular, special experience.
We remain committed to inspiring and compelling social change to the world’s most pressing problems through the power of great stories and engaging our audiences to take meaningful action.
For me, writing for younger audiences and writing for adults uses two different halves of my brain.
Audiences want to feel represented, want to be able to empathize with the characters and the stories they are seeing on the screen.
Movies, I don’t really get the bad guys. In theater, I get more bad guys. Both audiences and directors are more willing… to allow people to stretch. In movies, you do one thing, and then that’s their reference.
I relate to the audiences and they know me. It’s pretty real.
Audiences are more drawn in to what they can relate to, so it would be stupid not to have great Latino films for the Latino audience.
I think there’s an essential problem in movies and TV that I think a lot of people experience now: Audiences are way more interested in the actors than the characters that they’re playing. It’s a strange thing.
Chennai is the birthplace of a new language in cinema. The audiences here are the most evolved moviegoers to be found anywhere in India.
I’m extremely excited about working with Troika on ‘The Hive.’ This script has two elements I always look for in a thriller – strong, believable female characters and a smart, very dark and very creepy story that will definitely resonate with large audiences.
It’s actually kind of cool that women have taken to me. Because now I have a whole different demographic when it comes to the audiences. I have women who come out and support my movies, and that is a huge demographic for me, which is great because some actors don’t have a female base at all.
We want to be a consolidator, not a seller, and we want to continue to explore the kind of targeted entertainment, targeted audiences, that I think are happening and emerging in every country in the world.
Obviously, CGI in the last ten years has gone through such leaps and bounds that today, people are looking for these kinds of movies to wow audiences with technology.
Stage shows help you meet the audiences face-to-face.
If all you’re doing is playing it safe – trying to make the same movie over and over again – that’s when the audiences say, ‘Oh, this is just a moneymaking machine.’ But if it’s genuinely in service to the art form, then the franchise concept is being used in a way that’s exciting.
The James Brown we saw tended to be the James Brown we chose to see: as the caped crusader of funk and soul, adored by millions, or as the face in a seemingly endless series of mug shots. The ways in which he appealed to and appalled different audiences made Brown a kind of national Rorschach test.
Journalists don’t have audiences – they have publics who can respond instantly and globally, positively or negatively, with a great deal more power than the traditional letters to the editor could wield.
The origin of ‘Lenny Letter,’ it started because Lena went on her book tour, and she had these audiences, young women, really diverse and looking for guidance.
With stand-up you’ve just got that one chance. Audiences can be quite fickle.
Importantly, Rajini sir doesn’t take his fans and audiences for granted.
Audiences could never relate to me as anything other than Tori Spelling.
Even when I have a vintage play, I draw in elements from current scenarios, so that modern audiences can empathize with the characters.
The truth is, a lot of people go to drag shows, really, for very light entertainment, and I think sometimes maybe we don’t even give the audiences enough credit as to what they’d be down for.
Lamentably, alien audiences may be frustrated by the switch to digital television. That’s because the transmitter power for DTV is fairly evenly spread across the spectrum. The spikiness is gone, and from afar, the attention-grabbing squeals of analog television’s carriers have been replaced by DTV’s smooth, low hiss.
Audiences are not strangers to me. They’re the best friends I’ve got in my life.
Although designers continue to dream of ‘transparency’ – technologies that just do their job without making their presence felt – both creators and audiences actually like technologies with ‘personality.’
Audiences remember you because of your work, so I believe in working hard through my films.
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.
When I was given the opportunity to direct ‘Senna,’ I decided the film had to work for audiences who disliked sport or had never seen a Formula One race in their lives. It had to thrill and emotionally engage people who had never heard of Ayrton Senna.
When I first started, as long as you were a bit brown, you could play any kind of ethnic anything. Now it’s much more localised and specific. I feel like a wise old woman looking back on the evolution of how much more sophisticated audiences are.
I am never going to stop playing the villain. I would be foolish to do so because the audiences apparently enjoy watching me, and who am I to say no?
I have been very fortunate since ‘Ice Age’ to make movies that somehow charm audiences. I think that the key to it for me has been coming up with the right ideas but, more importantly, choosing the right collaborators and artists to execute those ideas.
Our mission is to inspire audiences to play, connect, and compete by making the most engaging entertainment in the world, and our talent evaluation process ensures that each new hire shares that commitment.
I worked at NBC and MTV for two years, and it was very interesting to see the comparisons of audiences and the way that I would have to present a story to the two different places.
I’d love to star in dark drama that audiences could really relate to.
If Mr. Chan ever makes another movie like ‘The Tuxedo,’ it’s American audiences that will see him in court. With ‘Shanghai Knights,’ he has come through with one of his best. This time, it’s personable.
Barack Obama has brought glamour back to American politics – not the faux glamour-by-association of campaigning with movie stars or sailing with the Kennedys, but the real thing. The candidate himself is glamorous. Audiences project onto him the personal qualities and political positions they want in a president.
London audiences have this reputation for being a bit too cool for school.
YouTube viewers essentially curate their own content, so you could form your playlist to watch ‘H+’ through the eyes of one character, in chronological order, in reverse-chronological order, by geographic location. Our hope is that audiences take ‘H+’ into their own hands.
If we don’t challenge each other to use our platforms for better than our niches or what our quote-unquote brand is, what are we doing as influencers? If we can’t activate our audiences at the times it’s important or needed, then what do we have these platforms for?
I’ve always operated under the notion that audiences don’t always know when they’re being lied to, but that they always know when they’re being told the truth.
Anyway, I collapsed in France in the middle of a tour. I hadn’t been eating properly, I was getting very phobic about audiences, and I collapsed in pure fright.
I think it’s really important for young audiences to see that you don’t have to apologize for being angry when you’re angry, and you don’t have to apologize for standing up for yourself when people are pushing you around.
I tell public audiences, don’t go to a podiatrist for brain surgery; don’t go to an astronomer for planetary science.
Like most athletes, I like to go home and relax. I try not to bring the game home with me. I might play some video games that are, let’s just say, for mature audiences only. And I might get some flak for this, but I like to watch ‘Seinfeld.’ Sometimes, laughter is the best medicine.
We honestly cannot hear sometimes because the audiences are so loud.
The difference between critics and audiences is that one is a group of humans and one is not.
Being able to play all over the world to different audiences and have them sing my lyrics back to me, even if they can’t speak the same language, is crazy.
2019 is proving to be a golden year of Malayalam cinema… As an actor, I have always classified films as either good ones or bad ones… I had five films that released this year in the cinemas and our audiences liked every one of them.
I have spoken to expert audiences occasionally, but then no audience is expert over the whole range of things I want to explore.
I remind audiences that I’m in the fortunate position to make a film about my family.
The loss of my mom really inspired me to go to a place with my performances that were emotionally honest, and I found that audiences really responded to that. People need to see heartbreak transformed into beauty.
I’ve always tried to make movies that pull the audience out of their seats… I want audiences to be transported.
What little return documentary filmmakers get often comes in the form of recognition by their peers and the critics who influence doc audiences around the country.
The great jazz radio stations have a duty to continue evolving their format just as audiences ask the musicians to evolve. How do you do that with a form of music that has 100 years of recorded history? How do you also keep it contemporary so you don’t isolate your listeners? These are major questions.
My audiences who love me don’t mind me dancing with two left feet.
Audiences are smart, and they don’t need to be spoon-fed everything.
If we can tell a good story with characters audiences can care about, I’d like to think that prejudices can fall aside and people can just experience the story and these characters for the human beings that they are.
Given the current state of publishing, I think it helps to have a brand name on the cover of your book. Comedians are proven commodities with built-in audiences. They may not have the writing chops of a Dave Eggers, but they’re salacious and funny and self-reflective.
I think writers write for their consciences, they write for their own true audiences, for their souls.
When I’m working with German audiences, I will call on my Rilke and Goethe in the original.
I think touring is an important part of the life of an orchestra. Not only sharing with other audiences, but bringing that sense of family that you get back home. The sense of growing deeper into the music, of making it all sound like chamber music – that comes from being together on tour.
If you check your ego at the door when it comes to comedy, you’ve got a pretty good shot at making a great movie that you can commit yourself to, you can jump off the proverbial cliff with, and have a great time, and the audiences respond to that.
Since most of our films cater to crossover audiences, I think it’s time we make films for multilingual viewers.
The idea of audiences becoming part of the show is, I think, where theatre is going.
We have people who pay to use our products and services, and they are heavily engaged in our content. If you erase the brand perceptions of AOL, and consider that people pay to use our properties, you would probably consider this one of the most valuable audiences on the Internet.
The trick is to have my own particular taste and feel for the theater to audiences who have been used to one particular style and taste for nearly 40 years.
Audiences just naturally hate me on screen. I could play a role in a tuxedo, and people would think I was rotten. You can do much more with a villain part.
I continue to write songs that are topically related to social, political and economic issues of our time, but I also recognize that onstage, I have a lot of fun and audiences have a lot of fun, so I’m trying to package the messages in music and sounds that are fun to perform and fun to listen to.
For a woman who didn’t want to be an actress, who is too tall, lanky, shy, and who didn’t fit into a Hindi conventional heroine, I am overwhelmed that my audiences have accepted me in India and the world.
What audiences love with series is that they can invest in characters for such a long period of time, and it’s the same for actors. You can truly tell your story; then it’s done.
Audiences want to watch good films, even if it is dubbed in another language.
To just get in front of different kinds of audiences is important for me. I do think it’s important for music to be a big family. Whether it’s country or not.
We’re making this huge changeover from underground to more mainstream audiences. I don’t know if we could ever repeat this type of feeling. We’re really excited.
Television audiences are ruthless – look what happened to ‘The Killing.’
I definitely talk about my love of metal to audiences, and I sort of realized it was always natural and never, ‘Well, I’m going to be the heavy-metal comedian.’
Messengers of Peace such as Midori – and our Goodwill Ambassadors, who work directly with the UN agencies – are dedicated and well-informed and credible advocates on behalf of the United Nations. They help us educate audiences worldwide and rally support on key issues of the United Nations.
A stand-up comedian faces the audiences and gets their immediate feedback. I hide behind the comic strip, and unless people write to me, I don’t know what they think.
Audiences want great story telling; it’s why white people watch my show ‘Black in America.’ It’s why black people watch ‘Latina in America.’ All of that is statistically shown and proven but it was because it was good story telling about people who were outsiders.
Your lineage and surname become irrelevant after your first film. Audiences do not care.
I’ve lost audiences, I’ve recovered them.
The first album was more born from busking – they were the ‘me-and-my-guitar’ songs. Going out on the road and opening for big acts changes you. You look out at those audiences and start to think, ‘OK, I need to write some music that’s a little bit bigger.’
I’ve never worried about what audiences would accept or had a game plan regarding the career. I never had an idea of how I should look to my fans or anybody else.
Well, the coffeehouse audiences never know what they’re going to get, and all the comics are different, as opposed to when you go to a club, and they’re pretty much all telling jokes with set-ups and punchlines. Coffeehouse audiences are the most forgiving: They really listen, which is the best part.
I like it when actors get an opportunity to chew into something. They love scenes with beginnings, middles, and ends – scenes that give an arc to their characters and allow audiences to get to know these people.
‘Hotel Rwanda’ is an American product, not a Rwandan one, made primarily for American audiences.
There are elements to the 19th century which just don’t work for contemporary audiences.
I often tell audiences at the start of my shows that I’m not gay because I’ve got petitions from lesbian groups saying ‘Can you tell people you’re heterosexual because you’re giving us a bad name.’
I want people to listen to my music and everyone to feel included, and I think it’s kind of working because all my audiences are always so colorful.
Comedy is learning to be funny, and you learn to be funny in small rooms with young audiences.
I don’t make movies because I think audiences will want to go see them.
It’s the audiences that inspire me to keep going. I feel that we all grew up together. The majority now are the people who were raised on the music in the Sixties.
It’s no secret that the media has fragmented in recent years, that audiences have been cut into slivers, and that more and more people get their news from ever narrower outlets.
My constant endeavour is to offer something new to the audience. Every movie I pick, including ‘Loafer’, which offers a strong mother sentiment, tries to give the audiences a sense of watching something different.
Audiences are audiences.
I take no pleasure in the fact that the scientific predictions I’ve relayed to popular audiences turn out to be true.
I think audiences are far too sophisticated now to have an English actor putting on a Russian accent – it feels fake.
I was lucky that audiences in Mexico liked my work. I was even luckier when I got to do movies and plays with my brothers.
The States still has the best audiences by far.
I’m not yet fortunate enough to take only the scripts that capture my fancy, but each one has to be a new experience, to put me in a light that audiences haven’t necessarily seen me before.
Audiences are a wee bit more chatty in New York than in London.
It’s always an inner wish of every actor to reach out to maximum audiences.
It’s good to be on the power list, but I don’t see a practical use of it except when people introduce me to audiences.
I’m not making movies for kids or family audiences.
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.
I think feature film can be quite conservative, because you have to now get audiences to come out, and it’s quite a hard thing to do. Of course, television can be conservative too.
Hong Kong film audiences are very quiet. It’s their culture.
When Balaji decides to release a film, all you will see and hear will be concerning the film – we go all out! Promotions are a big part of our banner – we believe in marketing… in letting audiences know what they are in for.
RFK was a compelling figure because he was willing to challenge his audiences, and in turn connect with them in a unique way. Kennedy showed that our values define us and can inspire others to believe in the possibility of change and a better society.
Cricket cannot afford to throw up meaningless games before its benefactors, which is what spectators and television audiences are.
I always look for projects that are risky and ones that want to do something unique. If audiences don’t like it, you feel good knowing that you were brave enough to do something original. If they do like it, you feel like everyone is rewarded, because we all got to see something new.
Audiences need to keep demanding shows with strong female leads.
Unfortunately for critics and audiences alike, I have made several films, and some films with really terrific actors. And I say this at my own peril, but Marion Cotillard is the best actor I’ve ever worked with.
I’m attracted to things that are challenging and fun and interesting, and it certainly seems that audiences enjoy them as well.
Ultimately, only audiences decide what’s a franchise.
In 2001, Katie Couric told ‘Today Show’ audiences that 7 percent of Americans doubt the moon landing happened – that it was staged in the Nevada desert.
Our responsibility is to deliver the most compelling content to our players. and if we do that, the audiences are there.
We’re making a commercial Hindi film catering to all types of audiences.
There’s a bit more of a safe distance when you’re making a narrative movie, a bit more perspective. Audiences can separate themselves from the harsh reality of the facts a little bit more and think: ‘Okay, how do I consider this?’
For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that’s really an interesting thing. I have an audience that goes from kids to seventy year olds.
There has to be that zeal to do something new and surprise yourself and audiences. You have to stay true to your craft, and that should never be sidelined.
When you start using test audiences, it becomes more scientific than it is about the work itself, and that’s boring.
I like live audiences, with real people – virtual reality is no substitute.
I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.
I think American audiences like gangster movies. You know, it’s part of the culture.
Our function as playwrights to some extent is to make audiences see with their ears, because films make us see with our eyes much better.
I don’t blame folks for not wanting to put me in their movies or whatever. I understand if their audiences had an association with me.
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.
To have great poets, there must be great audiences.
I detest audiences. Not in their individual components but en masse… I think they are a force of evil.
If the purpose of the stumpy little NFT theatre under Waterloo Bridge is not to acquaint young audiences with Ozu, with Ophuels, with D. W. Griffith and with Agnes Varda, then what exactly does it exist for?
Film making is an expensive, as well as a serious business. We should be able to entertain our audiences, who are fully aware of what they want. Every filmmaker has a different point of view and presents facets of society.
I now have two different audiences. There’s the one that has been watching my action films for 20 years, and the American family audience. American jokes, less fighting.
You know what, I’m a big coward and I’m really afraid of live audiences.
Ironically, heavier comedians, actors, and the characters they play are actually more sympathetic, and easier for audiences to identify with, than the svelte.
I don’t think you can really make television based on what you think audiences want. You can only make stories that you like, because you have to watch it so many times.
I think it’s important for History to keep experimenting with their shows. The more documentary-driven, the returning series, are the bottom of the iceberg under the ocean that keeps it moving, and then it’s important to take those swings and see if we can ignite a spark with new 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.
My schedule is completely different doing a play than it is doing a movie, and I actually think it’s a much harder schedule because you’ve got to do it eight times a week and you’ve got to do it good eight times a week and with different kinds of audiences who are cold or drunk or tired, whatever it is.
There’s a crazy, false notion that audiences are not patient or will not watch a story, that you have to put in a scare every ten minutes. But I always thought that was insane.
I want my audiences to be as open-minded as my characters.
Cable penetrates 70 percent of American audiences now.
I think the problem with ‘YouTube Rewind,’ at least how I see it, is pretty simple actually. YouTubers and creators and audiences see it as one thing and, YouTube, who’s in charge of making it, sees it as something completely different.
What turns me on is to walk into a sold-out venue. The audiences are so much the same as they were in the ’60s. It’s just an amazing thing. I can’t explain it, but I hope it never stops.
I think audiences can feel when they’re being served a filler episode.
I think, in any profession, what you fear most is not being able to perform, about not being able to meet new challenges. The fear of non-acceptance, particularly if in creative art. What happens if the audiences do not like you anymore!
In my acting, I have tried to do this – to present to audiences a living creature in whom they can recognise themselves or someone they know.
Audiences can be leery of sequels; the studios make a hit, they see dollar signs, and they make a cheap rip-off.
One of my frustrations is that we in society generally have this bifurcation in how we see the world. That’s probably a little less true with business audiences, but in general, there tends to be this view that for-profit companies are greedy, and nonprofits are noble. It’s absolutely more complicated than that.
It’s been interesting to see how similar audiences in the East and West are, actually, and how it makes you realize that when politicians emphasize the differences between our cultures, it’s usually because it benefits them more so than us.
Audiences don’t come to theatres going by reviews. Even if a film is rated low, the collections won’t get affected.
I can see that ‘Switched at Birth’ is attracting audiences because of the diversity and the American Sign Language as well. American Sign Language is such a beautiful language, and people want more of that.
I’m terrified of being too famous. What I’m really afraid of is that the audiences will go into the theater and not be able to forget that it’s me, that fame will stand in the way of my acting. I want to keep being able to change into different shapes and different personalities.
In the end, you don’t want music to be noticed as much as digested and integrated into the storytelling. And make audiences sit forward in their seats and enjoy the movie.
Take me to any other film industry, and they will be wondering why Telugu audiences love me so much.
You would give up your career if you lost your voice for good, or if the impresarios stopped calling, or the audiences stopped coming. But as long as those things are there, I don’t plan to stop. There is nothing that makes me feel better than to be with my public.
I try to address my audiences intelligently. The man in the street counts, but sometimes he forgets that he counts.
I won’t make shorthand films, because I don’t want to manipulate audiences into assuming quick, manufactured truths.
If you make a movie about Elizabeth I, how much of the dialogue is her real words? Audiences know when they go see a movie that it is fiction.
I’ve enjoyed appearing in Atlantic City. East Coast audiences are a bit brighter than Las Vegas audiences. I think most entertainers will tell you the same thing. The East Coast audiences are more perceptive – especially when it comes to a performer with a theatrical background.
Life in cyberspace is often conducted in primitive frontier conditions, but it is a life which, at its best, is more egalitarian than elitist and more decentralized than hierarchical. It serves individuals and communities, not mass audiences, and it is extraordinarily multi-faceted in the purposes to which it is put.
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.
We want to create these dramatic situations, whether they are real or not, to entertain audiences.
I struggle on many fronts on having to move to a different level, having to cater to constantly evolving audiences.
With the fragmentation of television audiences and the advent of cable and on-demand services, the prestige of being an anchor is not what it was in the days of Walter Cronkite.
Modern audiences are so intelligent. They work at such a fast pace that if you don’t give enough stimulus at a breakneck speed, they will become disinterested.
Broadway has a lot more razzle-dazzle than the West End. In terms of the everyday work routine, it’s not different, but there’s a cachet about Broadway that lends itself to more anticipation among audiences.
We have to reach out to younger audiences. They need to see how they can see themselves as black women.
I think the MMA and boxing are different audiences. I think it’s a different intrigue. There’s no reason you can’t be a fan of both; why does it have to be one or the other?
Given the kind of filmmaker I am, the kind of experiences I’ve been trying to give audiences, I was drawn to the potential of VR before I even tried watching anything in VR.
One of the benefits of playing to small audiences in small clubs for a few years is that you’re allowed to fail.
I don’t enjoy British shows as a rule because British audiences are strange.
The Spanish and the American audiences are lunatics. They are very passionate and, like the Irish, they don’t have as many inhibitions. If you are playing somewhere like Austria or Sweden, it takes them a little while to come out of themselves.
I have full confidence in the ability of Foo Fighters’ audiences to distinguish between questioning HIV and the obvious value of safe-sex practices.
Balaji has always had great market presence, be it in film or television – everyone was talking about the titles, about what happened on the sets, even the most bizarre and outrageous things are out there to be judged by audiences who inevitably decide to come to the theatres to watch our film.
I still have that South Indian accent. But I am working on it. Hindi audiences should feel that I am speaking like them and should relate to me.
I think audiences have hit the wall with CGI and special effects. They have seen so many over-the-top events that they can’t suspend disbelief.
A film like ‘Shirdi Sai’ caters to the family audiences, while ‘Rajanna’ evokes patriotic sense in viewers. ‘Damarukam,’ on the other hand, is a full-length commercial film made for the masses.
Tony Stark in ‘Iron Man’ helped wider audiences finally embrace the enormous talent of Robert Downey Jr.
With it adult political audiences abandoned cinemas. In their place appeared a void. That previous political audience migrated to the seats in front of their TV.
We all do films believing in them completely, but sometimes, the audiences like what we like, and other times, they don’t.
I honestly didn’t know how well Bin Roye would fare with audiences. I couldn’t be indifferent while watching it. I kept seeing tiny nuances that I could have changed with my role.
I think because I’ve been working in front of audiences for so many years, I’m able to take in the input, good or bad, and just say, ‘This is the part I agree with that you’re saying, and these are the parts I don’t agree with.’
I have found that children are the most open-minded of all my audiences. They are not set in their ways. They are open to ideas.
You learn to read the audiences after a while, and there are all different kinds of gigs.
Nowadays you don’t need to be a senator or a CEO or a celebrity to have a voice in the media, and if you happen to be a senator, a CEO or a celebrity, you have a thousand people each with their own respective audiences to hold you accountable.
For much of my career I had no authentic political voice. I had been campaigning all over the country not to change the world or shake up my audiences but to please the roomful of people to whom I was speaking… As a result, my words rarely had the ring of truth to the nonpolitical observer.
I would never inflict my bassoon on anybody really other than the long suffering audiences that come to the concerts of The Really Terrible Orchestra; which actually is really terrible.
I feel quite confident that audiences on both sides of the Atlantic are growing ‘dumber,’ if what you really mean to say is ‘less culturally literate.’
Rock music has always embraced – and even represented – rebellion, rowdiness, and a robust disdain for social decorum. But along with more classical art forms like theater, opera, and the symphony, it’s suffering from the distracted, smartphone-carrying audiences of the digital age.
I don’t know if there are too many other trilogies with stories that have continued to captivate audiences like ‘Back to the Future’ has.
In the best traditions of American comedy, from its beginnings through the crash-bang comedies of the 1990s and 2000s, Leslie Nielsen skewered the otherwise proper, did it with mischievous delight and convulsed audiences mercilessly.
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.
The success of ‘Deadpool’ and ‘Logan’ have bolstered our confidence to make edgy, more daring, provocative bold movies that audiences will embrace.
I have zero interest in performing in films to try to convey any kind of message. My job is to be entertaining. There’s a very different point of view about messages in films in Europe than there is in the States. Audiences rebel because they feel that they are being preached to.
Everybody that you could name would join in our audiences from, Laguardia on down. Everybody came. Everybody came to the Cotton Club.
Efforts to develop critical thinking falter in practice because too many professors still lecture to passive audiences instead of challenging students to apply what they have learned to new questions.
I want to show audiences I can act.
As much as I very much want audiences to watch FX’s carefully curated and highly contextualized television shows, I’m now glad when anyone takes the time to watch even our competition’s television series, as long as it demands their sustained attention and challenges their knee-jerk perceptions.
‘Stree’ is something fresh and new. Audiences want to see different kind of content on-screen, and ‘Stree’ is exactly that. It is a unique genre – horror-comedy – which has not been explored much in our country.
When you do comedy, you can’t please the world, although I’d like to think that most of my audiences were on my side.
‘Visiting Mr. Green’ is a good play. I enjoy being in it, and I have a wonderful colleague, Aidan deSalaiz, to work with. Audiences like it a lot. What’s not to like?
You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences – whether they know it or not – most want an emotional connection to character.
If you look at my audiences, even in Europe, they’re hardly teenagers.
I write on sacred stories, symbols and rituals of all cultures – European, American and Chinese – but my audiences, typically, like me to focus on India.
Cinemas gained new young audiences who wanted films made for them.
Theater will never, and never has, gotten audiences like film. But theater goes to work on society in a different and more subversive way.
When I have to compete with John Coltrane and Miles Davis and Louie Armstrong on iTunes, which I’m doing now, that’s a problem. That means that jazz is not being heard by younger audiences.
You could argue that as web audiences have grown larger and advertisers have demanded scale, the web has dumbed down – like the mainstream media we so mocked.
I prize something that feels authentic. It’s an undefinable thing, but I know it when I see it, and I think audiences do, too. One of the reasons why ‘Bloody Sunday’ and ‘United 93’ work is because they felt real, felt truthful.
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.
I had to drop a boulder to wake people up about the A.R.T. We’ve done that, and now we have audiences again who want cutting-edge work, who want to be challenged, but who also won’t be falling asleep at the theater.
R-rated comedies make as much money as PG-13. And I think the audiences wanna be shocked. Especially with comedy.
When audiences come to see us authors lecture, it is largely in the hope that we’ll be funnier to look at than to read.
There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.
My father’s films are often very slow for the modern audiences, which are used to a lot of editing. It’s the audience that watches the film instead of the director dictating the reaction he wants from you.
I feel like the rap metal at the end of the 1990s destroyed rock music for everybody and suddenly everybody felt like they had to apologise for being in rock bands. People suddenly felt bad about wanting to reach massive audiences and the sense of theatre, that we have in our live show, became something to avoid.
You just have to keep your head down and do your work and hope that audiences respond.
There’s no better feeling as a writer than to see your piece going beyond what you can have ever imagined. And a wonderful way for that to happen is for new audiences to discover it.
I feel like there’s an obsession with pace right now in theater, with things being very fast and very witty and very loud, and I think we’re all so freaked out about theater keeping audiences interested because everybody’s so freaked out about theater becoming irrelevant.
I would not want to be a part of any project that I feel would not work. An actor like me always wants to work to get appreciation of the audiences. And appreciation can only come if people will come to watch the film.
Both ‘Oz’ and ‘Homicide,’ they’re critically admired, so it’s not like they’re really neglected, but I wish they’d found bigger audiences.
Older audiences are hard to win over. They’re very specific in their tastes and critical of new music.
My mother was electric onstage, and I vividly recall the extraordinary power she had over her audiences.
Nowadays, people are re-making old songs and that’s good for us because the teenage audiences will get to know who the singer was and who is singing now.
Being web video ‘experts’/’pioneers,’ whatever you may want to call us, has us always thinking about content that is outside the box, inherently viral in itself and good for web video audiences, as you can’t just put out a good piece of content and expect it to be seen.
You know, the hard thing about audiences not liking what a character does is that they sometimes take it out on the actor personally. That’s something that you know when you become an actor or actress, but it’s always hard to deal with when it actually happens.
London audiences are tricky, too. They don’t laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.
Insight into character comes from listening intently to the spoken word. The physical person, their charisma, charm and dramatic flair is more often used to persuade audiences, as they use these stealth tools of disguise and deception.
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.
Image is one of the most important aspects in branding. People identify you and your actions with your name and the product you endorse. The image that you show to fans, followers, consumers, etcetera will affect your marketability and your overall appeal to diverse audiences.
I always tell my audiences not to listen to such artists who play audio CDs at their concerts. Such shows shouldn’t be called live shows. People like AR Rahman, Sunidhi Chauhan, and Arijit Singh are the ones who hold true concerts.
Audience members are only concerned about the story, the concept, the bells and whistles and the noise that a popular film starts to make even before it’s popular. So audiences will not be drawn to the technology; they’ll be drawn to the story. And I hope it always remains that way.
Our film industry as well as the audiences are now open to unconventional pairings and subjects, which has aided my journey greatly.
Mulan represents honour and bravery, but, for me, it’s also that she’s willing to discover herself and willing to go forward. I think that’s important to audiences too. Not many people would be willing to do that in the first place.
I thought I was going to make bigger films for mass audiences. And I wanted that. I actually had in mind a James-Bondian thriller.
I noticed that ‘Lost’ had sort of worn out our welcome; because of ‘Lost,’ audiences were no longer being patient with slow reveals: they wanted answers quickly, and they wanted story to develop much faster.
Actors are always weird about acting with their spouse or their boyfriend or girlfriend, but more because they think audiences will find it boring.
It’s funny when you follow your own sort of bliss, then other people tend to respond in kind, meaning audiences. It’s really weird how that works, but it does seem to apply to ‘Nancy & Beth’ especially.
I make movies that audiences like, that I’d want to see. That’s all.
I think audiences will always like bad guys who kill for no apparent reason. We just like to hate them.
We created Pure Flix to make uplifting and inspiring content on a consistent, ongoing basis, so audiences would truly have an alternative to what Hollywood puts out. Pure Flix produces faith and family films, so the audience is the entire family.
I wrote a very bad play about Prince William when I was 23 in which he went off to the island of Iona to discover himself. It was very long, and audiences should probably be very pleased that the computer it was on blew up.
The thing about audiences is that we can’t generalise them. It’s very unfair.
Cinema is changing every week, and multiplex audiences are demanding every week.
I’m always aware of who my core audiences are and I serve that niche.
I have been a stalwart advocate for the legacy of Charles White. I have said it so often, it could go without saying. I have always believed that his work should be seen wherever great pictures are collected and made available to art-loving audiences.
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.
In ‘The Birth of a Nation,’ Griffith made audiences see the Civil War through his eyes – the eyes of the son of a colonel in the Army of the Confederacy.
I’m always looking for bigger audiences and bigger stages. Really, however I can reach my fans is what will make me happy – well, I’ll actually probably never be happy.
You look around our audiences, and you see the spectrum – old fans and young people.
We’ve ignored audiences all these years. We’ve just amused ourselves and hoped enough people would want to eavesdrop to make it all viable.
I directed Bebe Neuwirth in ‘Here Lies Jenny’ at the Post Street Theatre. I was gobsmacked – the audiences were extremely knowledgeable, affectionate, interested, and not cynical.
Impressionable audiences should be seeing characters that are properly fleshed out.
I have not wanted to intimidate audiences. I have not wanted my dancing to be an elitist form. That doesn’t mean I haven’t wanted it to be excellent.
Audiences grew to like this duality of feeling, where you’re both championing a character and you’re revolted by them.
Audiences respond in entirely different ways. One thing is unanimous – music binds us altogether.
I think the audiences in Chicago are really open. They’re engaged and eager, and they don’t feel cynical to me. Sometimes in New York, there’s a sense of, ‘Prove it to me; prove this is worth my time.’ I never felt that in Chicago.
I think the only thing filmmakers can do is try to make good movies and make them as long as they allow us to keep making them. But at the end of the day, it is a business, and if audiences don’t care, there’s nothing we can do. It’ll just go away, I guess.
Obviously, I would like to play to bigger audiences and have a bit more success, but not if I have to commercialize.
Beginnings and endings are not interesting; audiences want the high point, which means you’ve got to get to it and get to it now – get the gun out fast, the clothes off quick.
Situation comedy on television has thrived for years on ‘canned’ laughter, grafted by gaglines by technicians using records of guffawing audiences that have been dead for years.
You can feel how the audiences react. For us, it’s about the performance and the reaction. We feed off the energy. And no matter how enthusiastic they are, we can tell if we’re playing well or not.
Since the goal of my programs is to show audiences how humor can both help them heal as well as deal with not-so-funny stuff, I decided to discuss the events of the previous week, the pain all of us were feeling, and how humor and some laughter might be beneficial.
I think fantasy thrillers excite audiences as, inherently, people have a fascination for the unknown and the unexplained.
Audiences don’t ever disappoint me, in the sense that movies I feel really good about, they usually feel really good about too.
One can never anticipate how audiences will respond. One of the lessons that I’ve learned over the years is to that no matter what my feeling or opinion might be about a given film, once you give it to the audience, they own it.
As an actor, it is okay to fall and get up. Then you can give your best. Sometimes audiences don’t receive it well, but you have to take it in the right sense. It is part and parcel of being in the industry.
I always remember what my dad told me when I decided to turn into an actor. He was emphatic that whatever I do, I should get accepted by the audiences who watch my films.
There’s been a vacuum with movies that people can relate to. There’s been a paucity of dramas that people can relate to. I think audiences are clamoring to connect – particularly after 9/11 – with things that are genuine and real and I think documentaries are filling that need.
With Australian audiences, there’s a certain level of education – as far as how much access and exposure they have to music from various genres. So when you do ‘Big Day Out’ and there are all these different musical acts, you see the same people in your crowd that were there for a completely different artist.
Putting out a book is absolutely a lesson in vulnerability because it doesn’t matter how much of an audience you have. Some people who have giant audiences can’t sell books because those audiences don’t feel like they need to give them their money.
I think audiences ultimately want something new. I think the business model for a franchise is such that it’s very low risk because you have data and studios love data.
I think that talking about the personal specificity, personal details, is how you get the big, big audiences – by talking about your relationships or your personal tragedies. If you reach out with that energy, you’ll touch people.
Often times, if you’re a bit of a crossover artist, audiences see you as only one thing.
I do think that my Indian classical audiences thought I was sacrificing them through working with George; I became known as the ‘fifth Beatle.’ In India, they thought I was mad.
‘The Birth of a Nation’ occupies a view of the South not far from Scarlett O’Hara’s in ‘Gone With the Wind,’ and modern audiences have to wrestle with that beloved movie’s romanticizing of racism.
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.
I was forced to lie to my father by doctors and relatives. I made that choice and agreed with them, and I will never, ever get over it. If I hear a lie in my life with my children, with my wife, my work, my audiences, I want to annihilate myself, vaporize myself, and wipe myself off the face of the earth.
I am not doing comedy because the genre is successful. If that was the case, I would have done a run-of-the-mill comedy film. I set my own trends. I like to give something new and different to my audiences. I want to do the kind of comedy that has been missing till now.
The American audiences are more vocal and enthusiastic. British audiences tend to sit back a little more.
After ‘Superstar,’ I was encouraged. I felt audiences wanted to be challenged.
During my career I’ve enjoyed re-invigorating and contextualizing classic characters that are relatable to contemporary audiences.
I want to keep audiences off balance, so they don’t know who I am or how to take me. If I duck and weave, as Frank Bruno might say, I’ll have a longer shelf life.
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.
Online is such an important platform… it’s all one giant melting pot of talents. The times are changing. It’s just art now. You can share your audiences with everyone, and it’s exciting.
I’m sure the audiences will connect with ‘Yeh Hai Aashiqui,’ as it will feature stories inspired from real life.
I tell stories about people audiences might think they have nothing in common with, then they emotionally connect with them and find they’re not different at all.
Postmodern comedy doesn’t work well with very old audiences, because it’s making fun of the comedy they enjoy.
When we first started, everything was animated, everything was comedy, and there was really nothing that was longer than about two minutes, because that’s all audiences would watch.
It is true that a lot of people are easily distracted online. As a result, too many of us have given up on digital audiences for ambitious work, and this is a mistake.
I enjoy all kinds of performances and take each role differently. I keep the audiences in mind.
So anyway, I really enjoyed the European audiences.
The quality of CGI, audiences are now so used to it. They don’t know what is CGI and what is real.
I know how to be funny to black audiences.
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.
When they tested Fatal Attraction, the audiences were so upset by her behavior, they literally demanded her blood.
This film business, perhaps more so in America than in Europe, has always been about young sexuality. It’s not true of theatre, but in America, film audiences are young. It’s not an intellectual cinema in America.
It’s not about just diversity; it’s about authenticity. Audiences are really excited to see more of themselves on the screen.
American audiences are great. They get what I am doing, but as my band will tell you, nowhere tops the Irish audience. They are just brilliant. They are very open, but the Americans and Spanish come a close second.
For an actor, it’s great fun to play one of these hungry white sharks. Audiences love to hate them.
The thing I do, really, is a communication with audiences more than any achievement through records.
If you start adapting to audiences, you’re really second-guessing the situation, and it becomes a bit more like cabaret.
Big players want to play in front of big audiences.
‘Guardians Of The Galaxy’ was, as ‘Ant-Man’ was, just fun, in terms of expanding this universe. We always say, how can we keep audiences surprise at what an MCU film can be?
Audiences in London called me the girl with the black cherry eyes.
I believe in entertaining the audiences with whatever I do.
I never write down to my audiences. I respect honest sentiment and honest pratfalls.
Audiences are embracing more and more unique material. I think they can sense the cynicism when people are just cranking something out to try to ride off the success of something else. I think they can feel it.
Although his crusade in 1957 occurred at a time in our nation’s history when race divided all, Reverend Graham refused to preach in segregated audiences.
The audiences love to see me fight on screen.
What hasn’t surprised me is that audiences, as we found starting with box sets, want control, to decide how they watch it. Appointment viewing is slowly being put slightly behind.
I couldn’t be more proud to introduce Anne-Marie Duff, a phenomenal actress who is bursting on the world stage, to Broadway audiences as Lady Macbeth.
There are certainly laws and elements that make a film more accessible to mainstream audiences. If you’ve got Tom Cruise as a strongman, I’m sure it would have larger audiences, but it wouldn’t have the same substance.
Costumes and scenery alone will not attract audiences.
When audiences look at an action actor like myself, sometimes we are very easily stereotyped or characterized as one type. They forget that we are actors, too.
What’s interesting is the show allows for the awkward pauses to be captured, which makes it stylistically unique, especially for American audiences.
I always try to pick and choose projects that will be impactful to someone. From films like ‘Clockers’ to playing a doctor on ‘ER’ to doing ‘8 Mile,’ where I’m in charge of the hip-hop battles, I think it affects all kinds of different audiences. And I just try to keep that in mind, to keep people entertained.
While I don’t claim that I feel no pressure, I have strived to take up only those scripts that appeal to me. I’ve been lucky that the ones I chose were also liked by audiences.
Horror audiences don’t need to see some TV actor they’re familiar with.
The beauty of the horror genre is that you can smuggle in these harder stories, and the genre comes with certain demands, but mostly you need to find the catharsis in whatever story you’re telling. What may be seen as a deterrent for audiences in one genre suddenly becomes a virtue in another genre.
For me, I was entirely focused on ‘Episode VIII’ and having this experience, and now I’m just thinking of putting the movie out there and seeing how audiences respond to it.
Other than Caroline’s in New York, I pretty much haven’t done clubs. That was primarily because I always liked the people and audiences at theaters and bars better.
If you can think psychographically and not demographically, you can really target a lot more audiences.
I began coming to Paris in the 1960s when I was told audiences here liked my work. More than 20 of my plays have been produced in Paris, and several have had long runs and have returned in revivals.
All of the sudden the audiences started getting younger and the spread of the attendance was really wide. I think it’s as a result of the records selling more that they started following our careers.
Audiences are not interested in watching singers who stand stiffly and sing for three hours.
We showed the industry that female artists could attract the same audiences as the big male stars.
I mean, I’ve been given a terrific life by the audiences who stuck with me all over the world.
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.
Instead of signing 10 films a year, I’d rather do a couple of films where I can give my best performance and am appreciated by audiences.
‘Alemaari’ is an experimental cinema of sorts. If audiences don’t understand it, the film will fall flat.
Our films have the ability to tell global audiences who we are, and this is something the government should feel compelled to protect. My film, ‘Bend it Like Beckham,’ for example, would not have been made without the backing and support of the U.K. Film Council.
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.
If a studio sees that a female can bring in audiences, then they’re going to make movies with that person.
I’m obsessed with audiences and obsessed with the journey that an audience goes on.
American audiences very rarely deal with material outside their borders.
I’ve always had live audiences.
Every Mother Counts is a nonprofit organization dedicated to making pregnancy and childbirth safe for every mother. We inform, engage, and mobilize audiences to take action and raise funds that support maternal health programs around the world.
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 want to keep going to new audiences and showing people firsthand how great NJPW is.
The overwhelming love Tamil audiences gave ‘Premam’ will always remain special.
I love the Broadway audiences, who relish live drama and don’t hesitate to display their enthusiasm.
If the networks can get audiences to tolerate pop-up promos by the dozens, maybe they’ll start selling pop-up commercials, too.
At the end of the day, audiences just want to laugh and 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 love to sing with my daughter. Audiences like it because a mother-daughter pairing is a curiosity.
I love audiences. My God, the best friends in the world!
Let’s put it this way: 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.
I like Manchester – I’ve played it many times. The people have a lot of chein, a lot of heart, and the audiences are very receptive.
Korean audiences are amazing. The fans scream so loud, and that really surprises skaters when they first perform in my shows.
I’m not a fan of endless mystery in storytelling – I like to know where the mythology’s going; I like to get there in an exciting, fast-paced way – enough that there’s a really clear, aggressive direction to where it’s going, to pay off mystery and reward the audiences loyalty.
My first customer is myself. When I tell a story I like, I can sleep easy. I’m sorry when audiences don’t like it, but I have no choice.
Language should not be a barrier for an actor; I want the world to see my work and not limit it to Hindi-speaking audiences.
I think whenever you have a product you are always trying to improve it. Whether it is a commercial project out on the market or it’s a creative collaboration, you are always looking to keep you audiences more engaged.
The audiences used to say, ‘Are you a Donovan fan or a Dylan fan?’ It was all very naive, really.
It is nice to be validated by audiences and have people come up to you after a screening and tell you that they loved the movie. It never gets old.
I try to work on a film that my audiences would appreciate and enjoy their time in a theatre.
I’m a big fan of being scared I like being scared. I like being involved in a film that will make audiences scared, that intrigues me.
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.
Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.
Audiences make their minds up about people they see on screen, just like they do in real life. That’s what fascinates me in film. You see a character and have to think: is this person different to what I assumed he was when I first saw him?
Well-written plays deserve to be learned from and understood properly, both by actors and audiences alike, and Rattigan’s very human characters help us do that.
You can’t ignore the Asian and Hispanic populations in L.A. We can let audiences know independent film is not just about white men.
I do feel bad when my films don’t do well, but I respect audiences’ verdict because they know well which films to support. If they don’t like a film, we should accept it.
Having big audiences when you’re on a book tour is like Valhalla if you’re a person who used to sell Girl Scout cookies on the side. Because you want to give the reading that will sell the most books.
Different authors write different ways, have different relationships with their audiences, and those are all legitimate.
I love to do things that kind of mess with the movie formula that you can always find the right place to park; you’ve always got a phone signal. And I think audiences really respond to the limitations of real life when they intrude on drama.
I know two kinds of audiences only – one coughing, and one not coughing.
The people we want in our news prime-time space now are strongly opinionated people who I think, for the most part, attract audiences of like-minded people, who want to know ‘what’s our side thinking right now?’
Always really good audiences in Belgium.
American audiences are just the same as any other audiences. Except a bit more boring.
A lot of my humor centers on the act of telling jokes and I think this can prevent certain audiences from suspending their feeling of disbelief. It might piss a few people off, but I can’t help it.
I enjoy mixed audiences, not one particular group. Short, tall, scientists, Jews, gentiles, whatever, as long as they breathe and like to laugh.
Audiences want to watch heroine-oriented films, and even writers are writing scripts for women. I am very happy to see this change.
What’s hurtful is when you have portrayals like, you know, when you have someone like Jared Leto who accepts an award for ‘Dallas Buyers Club,’ after playing a trans woman, standing in a full beard and looking fully cis male: it is communicating to our audiences that underneath all of that, it’s still a man under that.
As any parent, teacher, or librarian knows, there is no richer experience than to see children’s faces light up at the suspense of a new tale or the surprise of a new poem. The uninhibited joy with which they listen is surely akin to that of adult audiences of old around campfire and hearth.
Just as actors are afraid of child audiences because they’re so honest, I would be scared stiff of going before the big folks.
I really like writing from real-life experiences. Audiences seem to prefer the stuff I couldn’t have made up.
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’ve built a solid career there, but America’s ten times the size. Now that we’re onto the third record, I feel like the stars have aligned and American audiences are embracing my music even more.
I’m scared of audiences. One show in Amsterdam I was so nervous, I escaped out the fire exit. I’ve thrown up a couple of times. Once in Brussels, I projectile vomited on someone. I just gotta bear it. But I don’t like touring. I have anxiety attacks a lot.
At Yahoo, we were one of the early proponents of the power of content showcased through new media. SnagFilms, with its large library and breadth of digital distribution, can help shape this next phase, bringing great stories to broad new audiences.
Audiences deserve better.
‘The Dark Knight’ is a really good movie that reached both critics and mainstream audiences.
I love watching audiences scream.
I went on all over the States, ranting poems to enthusiastic audiences that, the week before, had been equally enthusiastic about lectures on Railway Development or the Modern Turkish Essay.
I love making stuff. There’s a joy in having the first molecule of an idea, then testing it in front of audiences at secret shows that people only know about the day before. I videotape those, study them, enjoy being in the character and figuring out the movie.
Telugu audiences love cinema. They won’t let a good film down, and they’ve proved this with the way they accepted ‘Srimanthudu.’
I’m doing 5000 seat theaters and audiences are going nuts, it’s fantastic and it makes me very happy. I’m dirty, but not like this; I just do comedy that I find funny. I’m working on a new tv show for cable and it’s not set up yet.
I don’t know why, but audiences are often sympathetic to thieves. Sometimes they are more sympathetic to thieves then they are to earnest people. What does that say about society?
I’ve certainly enjoyed doing clinic tours for larger audiences, but the most valuable teaching experience has been the hundreds of lessons that I’ve given where I can hear the students play.
Many theaters are tackling the multifaceted work of black writers – established and emerging. Now the next step is for them to bring in audiences of color and continue to go out to our community and create a continuous connection that extends beyond the one black show in the season.
If you’ve seen ‘Spirited Away’, ‘Spirited Away’ is set in a very, very Japanese sensibility. And so, to Japanese audiences, when Sen would walk up, the main character, and look at this big building with a flag on it with Japanese writing on it, everyone in Japan would know what that is.
No producer should revive a play unless they have a very good reason for it. I think there’s quite enough about a good play to make it available to new audiences.
When we were doing shows in the mid-’90s, the audiences were 95% black. What’s happened now is the gentrification of hip-hop. A lot of cities passed ordinances that made it hard for black audiences to gather in large groups. Clubs are more open to hip-hop now ’cause it’s the same crowd that goes to rock shows.
I don’t consider myself an image-driven actor. I believe audiences come to watch my films because they are entertaining and not because of my image.
We want to give our audiences flexibility in the way they’re commercially engaged in the content.
Every year, Hollywood is looking for that new, white leading man and new white starlet that audiences fall in love with. But they’re not looking for the next Denzel Washington, Will Smith or Sidney Poitier.
I don’t underestimate audiences’ intelligence. Audiences are much brighter than media gives them credit for. When people went to a movie once a week in the 1930s and that was their only exposure to media, you were required to do a different grammar.
Audiences are smarter than ever; they know if filmmakers cheat an environment.
Theater audiences don’t pull punches. They’ll let you know when they’re feeling ripped off.
A hit film is what we work for as actors, as that goes to show that we have managed to entertain our audiences who shower us with their love and affection throughout the years.
I will do stories which most of the audiences like.
I don’t make films for critics, and I’m not particularly interested in what they have to say, and they don’t have a bearing on my audiences.
Audiences are always open to an interesting story.
Plays by people like Martin McDonagh and Brian Friel attract huge audiences, not because they’re Irish, but because they’re brilliant plays.
Maybe many directors are trying to create their own style of filmmaking, or to respond to audiences that come expect a certain style from them. But I don’t care about that – I don’t intend to have a ‘Miike’ style. I just pour myself into each film, enjoy it, and then what comes out just seems to have a ‘Miike’ style.
I like to be challenged as an actor, allowing myself to take up diverse roles. Even audiences get tired of watching their stars in similar roles over and over again.
I am really thankful to the audiences that they have appreciated all my songs and I have managed to touch their soul.
One can do a film and not work for six months, but on TV, you have to produce good content every week. It involves a lot of hard work, as one has to fight for ratings every week. But I have always got love from the audiences, be it during ‘The Great Laughter Challenge’ or ‘Comedy Circus.’
It is a part of us, film-makers and audiences; what we can’t say with dialogues, we say with a song. We tell stories through songs, look at our folk cultures.
People say I contradict myself because I come gangsta and teach at the same time. I don’t want to be too much on either side, but I do want to speak to all audiences.
I don’t pay attention to target audiences and therefore I often hear that I am a ratings killer, somebody who fundamentally doesn’t care whether one person is watching or an entire soccer stadium.
Films that score very high with test audiences generally tend to not be so great. But, there’s a lot of money involved in making movies, and it’s a way for people to reassure themselves, who have spent money, and it’s also a way to work out how to market a movie.
I like to entertain all kinds of audiences with my films.
The role of an orchestra in the 21st century isn’t just playing, it’s about developing future audiences and performers.
I think audiences have always wanted to see women in the movies, but every time a movie like ‘Bridesmaids’ comes out, everyone says, ‘Oh how funny, people do want to see women in the movies.’
I have grown up reading Marvel Comics and Marvel movies with their intricately woven storylines. It is fascinating to see how Marvel has created characters and stories that resonate so well with audiences across the globe, making movies at a scale that one had never before imagined.
Acting is a sport – especially working with Mark Rylance. There is competition involved. I have to be muscular, challenging, get audiences on side. It’s extraordinary how Globe audiences join in – it’s like competing at an event – I love it.
Audiences have taught me how to sing better and entertain better.
I wonder if too frequently publishers and developers are so caught up with going after new, untapped audiences that they can forget to care for the largest, most loyal and reliable audience there is – the current gamer.
I think new plays are vastly more surprising and challenging and inspiring; I hear from audiences all the time that they are delighted when they see plays about the world we live in now, at this moment.
I’m not Ang Lee who knows so much about western market and the taste of western audiences.
There are tons of really good writers out there, but for one reason or another, they just have not had the support that allowed them to build audiences.
Movies cater to what the audiences want.
I’ve also shot plenty of films with very small audiences – ‘The Sun Also Rises.’ I love that film, but I didn’t capture the imagination of the audience. I don’t know why.
We’ll see what I do after ‘Badlands’ to show audiences that I have more in my repertoire besides martial arts.
It’s awesome to see something like ‘Inception’, which is just mind-blowing and amazing, and it actually resonates with the audiences. I feel like that’s rare.
Part of my style was getting into a muddle. Audiences think that’s part of the act. Sometimes it might be – but you have to guess which bits.
Comedy club audiences pay up to $25 per person and another fistful of cash to cover a two-drink minimum, so when they don’t like something, they let you know – with silence.
I think America is a hard nut to crack. But once you get a toehold, it’s a great place for an entrepreneur because people are so enthusiastic, and you have the most enthusiastic audiences in world.
Christian audiences, I think, have grown very tired of movies that try to pander to them.
I learnt so much wit, really, from the Globe audiences. If you can make a circle, even in a proscenium theater, if you can get a circular energy going, so that all these people are involved with it and present, then there is something curious that happens with the imagination.
Actors improvise on the stage and enjoy interacting with audiences.
Indian audiences these days aren’t really interested in watching a character on screen evolve. They don’t want to see a young girl evolve into being a partner and enter motherhood – they are only really concerned about the story. As long as the story is getting interesting with every passing episode, they want more.
Such films that the audiences remembers 10-15 years after they released come by rarely.
All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.
Audiences need to engage with characters.
You learn quite a bit about your film from test screening audiences.
With comedy, the jokes will come out, and people will see them coming. Changes in daily life or current events can change the consciousness of audiences and can make the show less funny or feel more stale.
We are thrilled to see that audiences across age groups, across India are loving ‘Thugs of Hindostan’ and have made our film a part of their Diwali plans.
If you want to do a talk show on network television, you’re probably going to wind up having a desk and a band, wearing a suit, and having a sidekick. Audiences want to feel comfortable.
Almost all comedy is of its time. You can’t expect audiences now to laugh at what amused people 60 years ago.
Political audiences are not fun.
Popularity matters a lot, as at the end of the day, the love of your audiences can make you win.
I added and deleted according to the audiences’ response to different gestures, and chose songs to build an act that would constantly stimulate my audience.
I can play a man who’s despicable. But I’ll still look inside him to find a point of connection. If I can find that kernel, audiences will relate to me.
I’ve been at this for 40 years. And, as an academic, I’ve been content with relatively small audiences, with the thought that the audience I long for will find its way eventually to what I have written, provided that what I have written is good enough.
The secret sauce of the business that I can offer is my creativity, and in order to keep my creativity alive and fresh, I have to pretend that no one is watching the show, that there are no audiences, there are no ratings; I’m just telling a story.
We try to keep audiences coming back in greater numbers by doing the unexpected and not simply following a pattern or a mold or a formula.
British audiences tend to want to see their own lives reflected on TV, whereas American audiences are quite aspirational and enjoy high-concept shows that show them lives that are perhaps slightly more exciting than they aspire to.
It’s a great privilege and a highlight for choir and orchestra members to perform for audiences in live concerts.
Once you create a believable fictional universe, you suck the audiences into that world and they tag along for the ride.
It is important that alongside the blockbusters there are stories that can inspire and audiences can experience together in the cinema.
Most Americans I play for are clueless as to who Richard Ramirez was, so you can imagine how audiences in Portugal react. I’m not saying they don’t enjoy the music; I’m just saying they’re a little lost on some references.
I did a fantastic emotional film, ‘Autograph.’ But the audiences rejected me in it. They like to see me laughing and fighting.
When you start out, it sometimes feels like you’re fighting audiences every night just to prove that you’re funny.
I lose tons of stuff on the cutting room floor. For Scary Movie 3, for example, we had a lot of Matrix spoofs, a Hulk scene, and some of that stuff just doesn’t hold up – it’s too much plot, audiences just didn’t want to hear about it.
I think that if an audience is truly appreciative of a performance, they will show it. Sometimes though, there are little differences, and there are audiences that are very reserved even though they are enjoying the show.
You can connect with an audience by being a conduit. I’m a big believer of connecting wrestling audiences.
You always draw on your experiences with live audiences to know how to do comedy on films. You’re working for a laugh that may or may not come six months later, but you’re working in a vacuum at the time you are doing it.
It’s always nice for the judges and the audiences to have something a bit different so they don’t always see and hear the same thing.
All my career, I’ve said this: Critics and producers think audiences want actors that only present the silhouette and hit the points in the silhouette. What I do is too dangerous.
When audiences start calling you by your character’s names, your job is done!
You look back on films sometimes and if they have not been as all-out successful as you anticipated you try to find reasons why maybe it didn’t come off for audiences as well as you would have liked.
I have a complex feeling about genre. I love it, but I hate it at the same time. I have the urge to make audiences thrill with the excitement of a genre, but I also try to betray and destroy the expectations placed on that genre.
Onstage I have a natural chutzpa that audiences like. I’m out there.
Audiences have taken a liking for supernatural and fantasy shows. The genre is doing well on the small screen, and I wanted to get into that mould. I have never played a naagin, and such roles have always intrigued me.
There’s a joy in having the molecule of an idea, then testing it in front of audiences at secret shows that people only know about the night before.
Children are the most wonderful audiences. What’s struck me most is that that they watch it so silently, until the end when they shriek and shout and clap.
You need stars to create the buzz and bring audiences to the cinemas.
It was great about the sizes of the audiences we were getting in America, but sometimes you feel like telling some of the men that you’re not on stage to have your body looked at.
I’ll keep doing it until I die or the audiences die.
I think Raju Hirani and Farah Khan are the only two filmmakers who can balance the multiplex audiences and the single-screen audiences.
Spielberg may have intended ‘Schindler’s List’ as the opposite of entertainment, but the film grossed $321 million and engaged audiences as only entertainment can, coaxing them to cry and shudder, leaving their hearts more heavy than broken.
When we started work on ‘Baahubali,’ my sheer aim was to be able to live up to the imagination that Rajamouli sir had in mind. As an actor, my intention was to bring up ‘Baahubali’ live on screen for the audiences. I never even expected in my wildest of dreams that the film would grow on to become a phenomenon of sorts.
Our goal is to put news where it earns attention, where readers can access it on every device and interact with it. We’re meeting our clients’ audiences where they are instead of asking them to come to us. Increasingly, that means hosting the content on social blogging sites like Medium.
I believe a mini-series has two audiences. The first is the media. Then I go for the television audience.
I like audiences and performing and, you know… applause!
Without audiences, artists would be doing something else, and their creative and technical skills would fall on absent eyes.
Believe me, I don’t take that lightly. To have struck gold twice with ‘Rent’ and ‘Wicked.’ I know it’s rare and I’m very lucky to have that kind of phenomenon in my life. They’re not just great shows, they’re shows that resonate with young audiences.
I have to expose myself and then accept the judgment that audiences and critics will have. And that’s okay. I appreciate the elliptical nature of it. Sometimes people are more in the mood to be nice to me than others, and that’s great.
Like Tamil audiences, the Telugus, too, are welcoming of novelty. The fact that ‘Arjun Reddy,’ which had no regular songs, became such a big hit, says it all.
My obligation is to the movie audiences.
You just have to ensure that you make good films because audiences today have become picky and smart, and rightfully so.
As a performing group, the Beatles began by playing old rock favorites, for dancing, to tough audiences in Liverpool and Hamburg. When they began writing seriously, they discovered that they couldn’t compose in the early American rock tradition.
Sir Derek Jacobi has been an inspiration to so many actors and audiences throughout his brilliant career. To see him in Shakespeare is an event in itself.
At this stage, what would be rewarding would be for audiences to want to watch.
I am always attracted to the moments when a person who is associated with a certain message, image or sensibility evolves. I am very interested in how audiences respond to that maturation and absorb the evolution.
I do think the audiences have a right to judge what they feel is offensive and not.
When the decades pass and you’re working in this business, the audiences get older with you. That’s the nice part about it. They’re so supportive and so loving.
There’s a wonderful tradition of jazz people getting on stage and jamming and finding some feeling for music with audiences who may be fresh. For others, it might be just like a comfortable shirt they’ve been wearing.
The world is changing so quickly, and actors now have this huge platform of social media to interact with their audiences, but I choose not to have a social media footprint. I’m old-school like that.
It doesn’t matter how big the film is – if the story is not good, it will not be accepted. Stardom can maybe pull audiences to theatres but beyond that it is all about content.
Audiences are savvy. You can never go wrong assuming the best of them.
I left the golden age of documentaries to go into the golden days of the ‘CBS Evening News.’ You could see that the audiences were eroding.
You think about taking audiences on a journey.
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.
Audiences can be very judgmental.
When I was general director of City Opera, we were pioneers in the practice of projecting supertitles so that American audiences finally could know what all the singing was about.
A lot of people don’t give their audiences credit. You can leave it a little mysterious. They can think about it.
Foreign revenues are tremendously important, but foreign audiences are dying for American movies, not for films they could make themselves.
I think audiences crave something new. I don’t think audiences want the same old thing, no matter how much conventional Hollywood tells you that.
I’ve gotten more flack from the remake nature of our ‘Being Human’ from American audiences than I have from British fans. Every fan of the BBC original that I’ve bumped into seemed very excited and interested in seeing what we did with it – at least to my face!
Audiences like me in soft, romantic roles, and ‘Premam’ ticks all the boxes.
I don’t know, I think the crowds are even more responsive now because the audiences are skewing younger.
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.
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.
I think that what appeals to me in my work is having the opportunity to inhabit different genres and so to reach different audiences.
Audiences are quite happy to be astonished, and they don’t care who does that astonishing.
My career is a black comedy of sorts. I spent a lot of time explaining myself to various different groups. But more and more, I’m finding that the desire to communicate, which all these audiences share, is a powerful thing.
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.
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.
I want to put something on the screen that audiences have never seen black actors do before, roles that will widen views of who African-Americans are.
If I hear a lie in my life with my children, with my wife, my work, my audiences, I want to annihilate myself, vaporize myself and wipe myself off the face of the earth.
My strongest audiences are in Germany and France – they stuck with me through my dark days in the ’70s.
There was something about being in front of audiences when I was in elementary school plays that gave me a thrill. It was like the rush you get from a roller coaster drop.
Luckily, West End audiences seem to rather like very old people.
Theatre, when it is at its best, takes a lot of beating – the live experience and the shared collective experience of live storytelling is really special when it is good. Particularly here in New York because the audiences are amazing, very vocal and very engaged, and that makes theatre very exciting.
I did a couple comedies to balance myself as an actor and balance how audiences see Donnie Yen as an actor, and I would even say as a celebrity or icon, to some fans. I want to show that I’m not Terminator.
Many museums are drawing audiences with art that is ostensibly more entertaining than stuff that just sits and invites contemplation. Interactivity, gizmos, eating, hanging out, things that make noise – all are now the norm, often edging out much else.
Consumers online expect dialogue, so pairing your brand with relevant and passion-driven topics is one of the best ways to ensure that you are engaged with key audiences.
My audience loves seeing me pump large amounts of money into action and sets. And it works. I’m not saying that films made within a budget are wrong. But when audiences come to see my film with their families, I guess they are spending at least 10 per cent of their monthly income. I don’t want to cheat them.
A mental shutdown can happen when a young person is put in front of a Shakespeare play. My pieces are designed to release young audiences into the story and then creep up with the real Shakespeare, almost by stealth.
I make American films for American audiences and Asian films for Asian audiences.
Scotland is one of my favourite places to perform: it’s really something special. Scottish audiences are just so enthusiastic; their approach to dance music just feels similar to my own somehow.
Apart from ‘VIP’ being a blockbuster movie, the various characters such as mine, the Luna bike I use in the movie, the lovable amma and appa, a pet dog named Harry Potter, the innocent brother, etc., had a huge reach among the audiences.
Often, American audiences are underestimated by producers and movie studios. They often think we’re dumber than we are.
I tell my audiences today that I served 10 years in Nashville! That’s a joke, of course; I was grateful for the work. Bob Ferguson, who produced Connie Smith, Porter Wagoner and Dolly Parton, started calling me in.
Whether I’m speaking to conservative or liberal audiences, I don’t find that people are close-minded about the things I say. I’m still optimistic that we can bridge a divide between these various bubbles. But I do think that it requires a little bit of effort.
We are pushing ahead as fast as we can for all audiences, whether for the business user, the child, or the digital music enthusiast.
It’s good to give people a jolt. If they’re expecting one thing, it’s important to give them something else. If you do something startling, audiences might at first freak out, but then they start to think, ‘This is not going to be conventional. I’m going to enjoy this.’
Each time I have performed in Utah, I had a great time, and the audiences seem to enjoy what I do. The audiences are very warm and very appreciative.
I find it odd seeing a DJ playing to huge audiences. I know that people have been doing it for a while, but the fact that it’s been embraced so much in America now and it’s become like this new, big thing, I find it slightly odd.
‘Dating In The Dark’ is a unique show that is going to bring something very new to the table for the audiences. The format will make people look beyond the general dating norms of our society: who knows, maybe even reinvent them.
A lot of gay-themed films are terrible. And mainstream audiences and the press aren’t interested, understandably.
The most likely explanation is the most practical. ‘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.
From time to time there is a move to do a little less in the way of period dramas, but people rebel. Audiences say we want them. There is a big hunger for them. I don’t think it’s sentimentality or nostalgia, it’s often that they are simply the best stories.
Over the years, I’ve been trying to build a relationship with an audience. I’ve tried to maintain as much of a low profile as I could so that those characters would emerge and their relationship with audiences would be protected.
I love audiences.
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.
We have anticipated releasing the trailer for ‘Do You Believe?’ to audiences, as so many have been looking forward to this project as the follow up release to ‘God’s Not Dead.’
In Mumbai, it’s almost like Hollywood. They can appeal to different segments and still be successful. There are multiplex audiences to whom you can showcase any lifestyle. But in Tamil cinema, we need to satisfy everybody, whether urban or rural.
Phish and Dave Matthews really know their audiences and really treat them well.
I want my films to get audiences. I am not interested in making them just for myself.
I do comedy at a lot of colleges, and at the end of those shows, I take time to be a little more real with audiences. I try to inspire them to follow their dreams. When I was that age, it was incredible to hear stuff like that.
Part of the responsibility of being a modern storyteller is understanding modern audiences and trusting what they can handle. It’s not just settling into what we think they want.