Audience quotes

When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.

I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.

If your audience is young, it'd be youth culture, if your audience is older, it'd be older people, if it were senior citizens, it'd be senior citizen issues. So you try and hit the target audience.

I don't believe in elitism. I don't think the audience is this dumb person lower than me. I am the audience.

The perception of the audience is the interesting part. If the audience doesn't hear what is going on, is it going on or not?

Sometimes you don't know what you've got until you put it in front of an audience - and the enthusiasm for the show from the audience has been just incredible.

I can never remember being afraid of an audience. If the audience could do better, they'd be up here on stage and I'd be out there watching them.

They're getting more and more experience on what to expect, and the Hellboy audience is such a faithful and fanatic audience as I am, and you have to really be very open about what you do.

You can feel whether an audience is tightened up and pulled back. Of course the opposite is an audience like we've been having in LA, which is fabulous.

I'd just love to have an audience and it's the most fun in the world to get a new script every week and have the audience come in, and work with those actors.

I think ultimately if you have a very high expectation of your audience and you know exactly what it is you're trying to express through the medium of film, there will always be an audience for you.

But I always communicate with the audience. I never pretend like I'm just in my bedroom making a track. The whole point of doing a gig is, like, a feedback thing between you and the audience.

I have been able to get a small audience. It's not the huge audience, but it's enough to make it possible to play. I appreciate that.

Nowadays the audience has changed. No one can anticipate the audience.

What looks absolutely fabulous in rehearsal can fall flat in front of an audience. The audience dictates what you do or don't change.

So it's one of those things where we have to - our problem is pacing ourselves and still reaching a large enough number of our audience. Because we don't want to burn the audience. And we don't want to be excluding anybody.

I was jumping out of my skin. It was horrible. I was all over the place, because I'd never been in front of a live audience. That's a whole other element in the play, the audience.

The difference between a theatre with and without an audience is enormous. There is a palpable, critical energy created by the presence of the audience.

You have a specific, defined audience-at MTV, they assume the audience to the news is 15 to 30 years old and they do a lot of research about the things they're interested in.

Poets have to be sensitive to their audience, but it does not mean that they censor themselves. I realise my audience is diverse. Some will read with empathy and curiosity while others will take offense.

A performance is only as good as the audience you are playing to. A lot of times you feed off of the audience, and we always try to give them all we've got and sometimes you don't get a lot back, but we've never been dead whenever we've performed.

In Poland, my audience is all women between 18 and 30. At U.S. conventions, you have the fantasy and science fiction crowd. At Harvard you have an entirely different audience. It's so schizophrenic.

Intimacy comes from being yourself on the stage and making the audience feel, without trying, that you're sittin' down there with 'em, playing, and that can happen in a big hall, if you have a good audience that want to listen.

Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience.

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

I almost never try to make the audience comfortable. I wouldn't want that if I were in the audience.

The audience is the camera. I don't want the audience to sit and watch, I want it to move.

I like a movie that the audience actively has to participate in, and not just casually observe. Whatever my part in it, just as an audience member, I find that exciting.

I have been steadily exchanging a rock audience who were nervous about what they had just bought for a jazz audience who not only were happy with their purchase, but are increasingly coming again.

Some people act as though art that is for a mass audience is not good art, and I think this has been a very negative thing. I know that I have wanted very much to write books that are accessible to the widest audience possible.

Any show that's bringing in a young audience is doing a good thing, because that's the only way that theater will continue to grow. All the other audience members are going to be dead soon!

You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.

Performance art can involve the audience with taste, smell and sounds not available with electronic media and not practical with conventional theater. This is due to the usually small audience.

Why would they have gone to the trouble to hire the best comedy writers in the business to write funny material for us to play straight, if the children in our audience were the only audience.

The only thing that really matters in the initial part of my career, the worst mistake I've ever made was try to do things to please the audience thinking how the audience is going to respond if I do this.

For anyone who works in front of an audience there is no thrill quite like that of feeling and hearing the evidence of the audience members' enjoyment. Laughter and applause really are powerful.

If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. You must reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.

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.

Never use the word 'audience.' The very idea of a public, unless the poet is writing for money, seems wrong to me. Poets don't have an 'audience'. They're talking to a single person all the time.

You can't second-guess your audience. You can only do what you think is right. If you do that, your audience will appreciate you.

Your purpose is to make your audience see what you saw, hear what you heard, feel what you felt. Relevant detail, couched in concrete, colorful language, is the best way to recreate the incident as it happened and to picture it for the audience.

I think I can take responsibility for that in that I was the audience. I was the voice of sanity around whom all these crazies did their dance. And I reacted in the same way that a member of the audience would have reacted.

For me, the great joy is to watch an audience watching what I've made. To hear not a peep from the audience at the right moment, and then to hear the laughs and the cheers.

You know, we're not on stage, we're not doing a play, so we don't have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.

Because even at the age of fifteen, I used to go see all the Broadway shows and feel that they were sentimental, that they were pandering to the audience and trying to manipulate the audience. I had no use for practically any of the shows that were hits.

When I look out at the audience at some of our shows, I think we are reaching a younger audience... I see lots of people in their 30s and 40s, but I also see a lot of people in their young and middle teens, and that's definitely reassuring.

When you make a film like this, you must have the highest expectations of your audience. Having worked in situations where we have the lowest expectations of our audience.

It's a little like casting out hundreds of fishing lines into the audience. You start getting little bites, then more, then you hook a few, then more. Then you can start reeling them in and that's a loveliest feeling - the whole audience laughing with you.

I'd say we do reach somewhat of a younger audience, but I think for the most part that younger audience is picking our music up from a brother or sister or even parent, who is turning them onto the band.

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.