Audience Quotes

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.

Also the fact that anything he does is seen and heard by the entire country, not just his actual audience or those who live in the region he happens to be in.

The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.

Being a doctor has taught me a lot about directing. You're doing the same thing: You're reconstructing the manifold of behavior to the point where an audience says, yes, that's exactly like people I know.

I don't think actors should ever expect to get a role, because the disappointment is too great. You've got to think of things as an opportunity. An audition's an opportunity to have an audience.

Don't give it to the audience; leave it to the audience.

You've got to work. You've got to want an audience to sit forward in their chairs sometimes, rather than sit back and be bombarded with images.

Why would I care what other people are thinking? I don't care what an audience thinks of me.

I did not want 'Battleship' to be perceived as an American war film. I wanted to do everything I could to make the film accessible to a global audience. It felt like bringing an alien component to the film would help take the American jingoism out of it.

Believe it or not, I want to keep growing my audience.

To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.

The impact of the black audience is expressing itself. They look to films to be more expressive of their needs, their lives. Hollywood has gotten that message - finally.

I do that in whatever language of the country I'm in, because the audience appreciate it.

Both me and Edgar are firm believers in never underestimating or talking down to an audience, and giving an audience something to do, to give them something which is entirely up to them to enter into the film and find these hidden things and whatever.