Judy Garland Quotes
Quotes to Explore
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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.
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Audiences are quite happy to be astonished, and they don't care who does that astonishing.
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To have great poets, there must be great audiences.
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When I perform in front of large audiences, I'm much more comfortable, because I've already performed in front of tiny audiences - which is much harder, honestly. The smaller you strip things down, the more you depend on the songs and yourself, as opposed to arrangements.
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I really feel that's part of why audiences go to movies now is to take you to a world you have no access to, whether it's the world of Avengers or Middle-earth or bars in Boston you would be afraid to go into. You see characters there - they aren't hobbits but they're close.
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Audiences will get just as tired of people wrestling on a bed as they did of Tom Mix kissing his horse.
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Popularity matters a lot, as at the end of the day, the love of your audiences can make you win.
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There are often multiple sources for some famous statements by King; as a professional speaker and minister he used some significant phrases with only slight variation many times in his essays, books, and his speeches to different audiences.
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I like to see writers reach bigger and bigger audiences, and stand-alones have allowed some of them to do just that.
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You look around our audiences, and you see the spectrum - old fans and young people.
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Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.
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I've been in love with audiences all my life, and I've tried to please. I hope I did.
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I struggle on many fronts on having to move to a different level, having to cater to constantly evolving audiences.
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The point of view foreigners will have of the film The Conquest isn't the same as the French public. What will interest American and international audiences is the love story between Nicolas and Cecelia that's a metaphor of today's occidental couple, namely the women in the shadows who carry their husbands into the spotlight, but the man is so absorbed with work so the woman leaves him for another man.
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What happens online is you are constantly dealing with invisible audiences.
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Australians just don't see that many Australian films, but it's also our responsibility as filmmakers and the responsibility of the funding bodies to remember that audiences want to be entertained, and people are entertained in lots of different ways.
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Audiences tend to get the performances they deserve.
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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.
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I don't think too much about the past when I am actually playing, I prefer to concentrate on the present. The performance of a piece, no matter how long ago or where it was written, is always a new production, something that comes alive in the present. And it doesn't matter if the piece was written two or three hundred years ago if it is alive in us.
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I can't complain about my life. I have a really nice life. I have a great family and I live in a gorgeous part of the country.
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There's something about working in adverse conditions. It keeps it interesting. I always notice if I ever sit down with a pen and piece of paper and a guitar, and I have a beverage and an ashtray and I'm comfortable on the couch, I fall asleep.
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Audiences have kept me alive.
