Audience Quotes
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When I lose touch with the audience and the reality of what life really is, I'll be Vanilla Ice or something.
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Very rarely I create things and feel like I don't want to recreate them in a live setting. It's a completely different world, but at the same time that's where I've always come from. Enjoying that give-and-take from a live audience, there's a large part of me that's looking forward to it, and creating that relationship again.
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Putting out the things that I like best hasn't been the easiest way to run a label, and it still isn't because it requires finding an audience for each record.
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Film is like tech starts on the first day of filming and it never stops. There's never a moment when the audience comes in, you're just in tech forever, and I can't stand being on a film set. It's really tedious.
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There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.
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I don't live for the stage. I don't live for an audience.
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I like being a big fish in a small pond. I'm not interested in a huge audience because it brings headaches.
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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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Luckily for me, I genuinely like my audience. They really are a good bunch.
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Audience members are only concerned about the story, the concept, the bells and whistles and the noise that a popular film starts to make even before it's popular. So audiences will not be drawn to the technology; they'll be drawn to the story. And I hope it always remains that way.
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Of course, it's a great joy to be able to perform. And that love affair with an audience, where you give love and they give love back – it's a romantic situation.
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A lot of my humor centers on the act of telling jokes and I think this can prevent certain audiences from suspending their feeling of disbelief. It might piss a few people off, but I can't help it.
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So far as I know, anything worth hearing is not usually uttered at seven o'clock in the morning; and if it is, it will generally be repeated at a more reasonable hour for a larger and more wakeful audience.
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I truly have a great love for an audience, and I used to want to prove it to them by giving them blood.
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Understanding the mythology of your partner, your customer and your audience is far more important than watching the instant replay of what actually happened.
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The person who writes for fools is always sure of a large audience.
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I think that black fiction authors have to work very hard to avoid being typed as seeking only a black audience.
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We can make ourselves actors, but only the audience can make a star.
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When the poet's sentiments are overly visible, the audience may become uncomfortable. Japanese ritual is the opposite. By writing simply and only about what is there, the audience is drawn into the poet's world. Their imagination is stimulated, and a silent connection is established. I believe this is where the most important aspect of the Japanese sense of beauty lies.
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A lot of my traditional audience does not appreciate my foray into politics.
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The reason that you dance and sing is to make the audience feel like they're dancing and singing. As long as you're having fun with it and giving it 100 percent, they're gonna feel that.
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Unpredictable action is movement's equivalent to a page-turner in literature. On stage, we have certain options to make our moves appear surprising or even shocking. One choice is to remove transitions. We try to construct motion hunks, hunks of action that could be missed if an audience member blinks.
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But sometimes it's good to dare yourself to do the unthinkable. And rather than stand in front of an audience with no clothes on, I decided to have a go at stand-up comedy.
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But a book suggests conversation: one person is speaking to another, and audible sound is, or should be, natural to that exchange. So I read aloud with myself as the audience, and gave voice to another's words.
