Audience Quotes
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My aim is to communicate with the last man in the audience. Art minus communication is meaningless. The term 'abhinaya' is not just facial expressions. It means drawing the spectator to an idea. Look at the modern advertisements. It's contemporary abhinaya. But one who creates should know what has to be completely and what has to be suggestively portrayed. That is ethical aesthetics. The Natyasastra says a production must be such that a family should be able to watch it together.
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We are a band that stylistically crosses a lot of barriers and generational gaps. The heavier portion of the band, the modern music elements, the visual part of the band appeal to a younger audience. For an older audience, we have chops and great songs that are reminiscent of the things that were great about rock and roll when they enjoyed it. We're the kind of band that can cross those lines.
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Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.
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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.
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The good and wonderful thing about my whole career is that I've always felt that the audience, if I do it well, will track wherever I go, whether it's President or a lawyer or bad guy or good. All I have to do is execute the material enough where they buy into it. I've had the great luxury of the audiences accepting that.
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I'm the first to poke fun at myself when it comes to the hair. I even ask the audience 'hands up who had big hair in the 80s?'.
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I'm just not made for that kind of live audience where you don't create a fourth wall.
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You have to know the rules, otherwise you have no tools to communicate to the audience, but to keep it fresh you have to break some. I don't choose genres as the element, but the material itself is the element, then I'll decide what genre I need. That's just how I work.
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My father, good or bad, mistakes or no, had a direct line from his heart to the music to the people, to the audience. He played with logic and his own inner truth.
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It's not like we set out to antagonize the audience in any way. We're just presenting our music; it's really much more innocent.
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It's always good to go from a heavy song to a softer one. It helps having the attention of the audience for the whole show - three hours of the same songs for the whole show is boring.
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Somebody has to wear the black hat and give the audience someone to shake their fists at. They want someone to hate. And if that's what you want to pay me to do, I'm happy to do it!
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Our audience is all the girls who made Britney a huge star. Those are the girls who bought the book. I didn't read the book at first. I read the script just to see what I would think of the script and I really liked it.
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I am not doctor who and I can't turn back time. I once said the audience was all punks and little girls, now they are old punks and old little girls. I don't mind the fans being maturer, if there are younger fans that's good too.
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When the audience and the performers become one, it is almost nearly divine, where this oneness can actually meet in some, not physical place, but in some spiritual place, in the middle, not the performers performing, not the audience receiving, but all of a sudden that contact is made and it becomes wonderful.
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This is what we had hoped for when multiplexes were created. This is in response to audience demand for more diverse choices.
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You just went up and started playing, the audience got into it, and it was just a great high experience. That's what I kind of invented with "Mas Tequila" in Cabo.
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I love high concept movies, but they can only work if the source of inspiration is really human - if they're driven by pain and strong emotions. Once you connect the audience with that, then I swear you can take them on the craziest journey, and they'll come along.
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It doesn't matter if a critic pans or praises my movies, I am only concerned about that one audience member and what their experience is.
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I really think a good host is just a connector. I'm more traffic cop than star. My job is to get people on and off the program, and hopefully keep the audience entertained.
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Where I think that 3D will fall apart is going to be as audiences now get treated to incredibly artistic utilizations of space. I think the films that are just sort of done as 3D transfer type films, the audience will perceive the difference in that.
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If we're going to keep ourselves interested, we can't play for the reviewer and we can't just play for the audience. In the end, you have to just play for yourself.
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Patrick thought we should try to put an audience in front of one of the workshops, basically in front of the class and see how the performers rose to having an audience there, because he said, "You know, it's a really interesting test, because sometimes it gets even funnier."
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The first impression a speaker makes on his audience is by his appearance and demeanor. Well-groomed or not? Self-Confident or not? Nervous or not? Paper-shuffler or not? All this and more before he says a word. The next impression is how the speaker talks. Forceful or not? Correct diction or not? Too much use of hands? Walking around? If so, too much? Any distracting mannerisms such as always shoving his spectacles back up his nose? Speaks too loud? Too soft? “Talks down” to the audience?The next impression is about what he says—the content of his talk. Are the thoughts well-organized? Or is he just “winging it?
