Audience Quotes

They look so expectant, and then they look so depressed... that was the other great lesson that The Royal Hunt of the Sun taught me, it was the profundity that masked drama can achieve, that of course, the audience were not seeing masks moving at all.

Every time I reach a new audience, that means I'm doing something right.

I hope they get something of interest out of it, but I'd rather they all hate it and I like it, instead of vice versa... I make films to please myself first, and if the audience likes them, all the better.

Musicals are, by nature, theatrical, meaning poetic, meaning having to move the audience's imagination and create a suspension of disbelief, by which I mean there's no fourth wall.

Every time I go to the theater, there's something about the atmosphere, seeing something unfold live in front of an audience, that you can't get out of your system.

Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success.

Anytime you get an audience that's paying attention, you enjoy it more.

Once a president gets to the White House, the only audience that is left that really matters is history.

I want to photograph what I see and put it in a dramatic context. I'm an actor and a writer, and I want to tell these stories and present these shapes, colors and movements as I see them, as I see them serve a narrative. As I see that narrative serve an audience. That's what I want to do.

I don't want to be above my audience; I want to be one with my audience.

The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?

When I sing, I pick out people in the audience and pinpoint on them. So if you feel that I am singing just for you, you may be right!

You know, radio was a really easy way to do the shows. You'd come in, do a read-through, there'd be a few rehearsals, then you'd come the night of the show and do it in front of the audience and then go home.

The mainstream media today has the biggest disconnect with its audience that it's ever, ever had. And as the disconnect grows and as more and more people distrust them, then the media digs in more and more and says you don't know what you're talking about, you don't know how we do our jobs, you don't know what's important.

I tend to play characters that I can infuse with certain kinds of humour. Even the baddest guy can be funny in his own particular way. I want the audience to engage with the character on some deeper level so that they leave the cinema still thinking about him.

I have a genuine love affair with my audience. When I'm on stage they're not privileged to see me. It's a privilege for me to see them.

I don't feel the obligation to have a big explosion in the first 20 seconds so the audience doesn't turn on another channel. We are trying to make something that looks like a feature film that was bought for television and I think we are succeeding.

I can't imagine working without and audience.

We're all in the same room, so I want people to be involved with one another, but again you can't decide exactly to what extent that operates. It varies all the time and it depends on the show, it depends on the audience, it depends on everything.

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.

I'm a firm believer that character is highly overrated. Character is a trick that we do with the audience's collusion.

The thing with playing live is, most of the audience is in their 20s and 30s. If you're older than that, you don't tend to go out to shows anymore. So it's good if you can attract a younger audience because they've got the energy to get up off the sofa and go out.

Royalties are not how most writers or musicians make their living. Musicians by and large make a living with a relationship with an audience that is economically harnessed through performance and ticket sales.

We love the Stooges, and young kids today don't watch them. They think it's their dad's comedy. So we thought we could reintroduce them to a new audience.

When you're true to yourself - not the audience that reads about me in the newspaper or sees a clip someplace, but the audience that actually comes and watches, just like Oprah - they get to know you and they sense something genuine.

I've worked with leading men so worried about losing their charm that they were always winking to the audience.

If you do television, and it's great, it's the best job there is. Every week it's another opportunity to really make that work and figure out how to make it work better. I love that it's like theater too, and the audience, and it's so short, like twenty minutes... It's like a Haiku or something.

If the audience sees and feels things are real, then they buy it.

We still have that same burn, to get that same kind of laughs. So whether the studio wants us to or not, we're going to do it. The money is just a byproduct of coming out with good stuff. Our whole thing is building that rapport with the audience.

The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.