Audience Quotes
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I have been very cautious about the films that I do. I hope to always entertain my audience. The day I am not able to do that, I will quit acting.
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They're reacting and that's wonderful. It's better than them sitting there doing nothing. I say make them react - do whatever's in your power to move the audience, and if that's where it is, and there where it is with America, sex and violence, then I say project it.
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One of the great things about film is that, typically anything that's introduced in the first five minutes, the audiences will by into.
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The only line that's wrong in Shakespeare is 'holding a mirror up to nature.' You hold a magnifying glass up to nature. As an actor you just enlarge it enough so that your audience can identify with the situation. If it were a mirror, we would have no art.
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A tale may have exactly three beginnings: one for the audience, one for the artist, and one for the poor bastard who has to live in it.
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Bear in mind that you are not making music for your own pleasure, but for the pleasure of your audience.
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Punk is the way of those who are unable to express themselves, but they aren't dangerous; at worst, they may kill their audience.
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I think distribution has become a lot harder. With the whole explosion of digital video, there's just a lot more people making films. Distributors have a lot more choice. I do think there's an audience out there for small films. It's obvious to me what the studios do: they've co-opted independent film. They all have their independent arm. They can afford to crush the competition.
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I hope any poem I've ever written could stand on its own and not need to be a part of biography, critical theory or cultural studies. I don't want to give a poetry reading and have to provide the story behind the poem in order for it to make sense to an audience. I certainly don't want the poem to require a critical intermediary - a "spokescritic." I want my poems to be independently meaningful moments of power for a good reader. And that's the expectation I initially bring to other poets' writing.
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I almost never try to make the audience comfortable. I wouldn't want that if I were in the audience.
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It's a privilege to play music fora living. Even more, it's a privilege to have an audience. Respect that.
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Musicians are affected by the audience just as much as audiences are affected by the musicians. The only problem is that often times musicians won't allow themselves to admit to that fact.
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Sitcoms are like summer stock. You put it up in three days, and then you do it in front of an audience, so it's a really great transition from theatre into camera work.
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If the speaker won't boil it down, the audience must sweat it out.
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The liveness of theater, and the excitement of experiencing it alongside an audience, is something you can't get at home. That makes the theater more vital than ever. It's definitely expensive, but I have faith that the market will keep recognizing the live experience as a valuable and important one.
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I'm passionate about music, and I feel that theatre has an extraordinarily musical ability in the way it operates on the audience.
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I was really shy when I was younger, so my mom got me into an acting class to see if I would open myself up more in front of an audience. Her plan was for me to just talk more.
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Once you train an audience to look for significance, they start to find it everywhere.
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Teenagers are a great audience and they are fearless about asking what they want to know.
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'Dust Devil,' I've never really seen with an American audience, so I'm looking forward to that experience.
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You have to be smart to play a dumb blonde over and over again and keep the audience's attention without extraordinary physical equipment.
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I find broadcast intensely stressful, to the extent that perversely, I've never seen anything I've written actually broadcast on television. So, the audience response is something which I became aware of gradually.
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Being a songwriter does not rely on an audience or other band members or a camera. I can just sit in a room and write songs.
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You have to channel the interpretation and performance into 100 people. And with the audience, the critics.
