Audience Quotes
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I think people get too comfortable, in just doing what they do every week. And I'm all about challenge and change, and I like to read the audience.
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I think all writers write for an audience. There is no such thing as writing for yourself.
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Hanging out with politicians and corporations is very unhip work. But I think that the U2 audience have turned out to be incredibly subtle in their understanding.
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I realized that comedians of the day were operating on jokes and punch lines. The moment you say the punch line, the audience either laughs sincerely or they laugh automatically or they don't laugh. The thing that bothered me was that automatic laugh. I said, that's not real laughter.
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The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.
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You can make the audience laugh, be funny and sad at the same time.
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There's something therapeutic about connecting with an audience - when there's something really sort of odd or silly that you think is funny, and conveying it to an audience.
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The weirdest thing I've been fascinated with nowadays is the new contemporary country music, which to me sounds like very strange '70s pop, and sometimes like rock music. But some of the themes in there - maybe it's because I know how the songs were written, but it really does sound like it was written by two or three people, with the idea to appeal to the most general audience.
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When the instrumental bit comes in, all the spotlights go onto a mirror ball and you basically hear gasps from the audience over the music. It's a really magical moment.
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So much easier to aim for the smallest possible audience, not the largest, to build long-term value among a trusted, delighted tribe, to create work that matters and stands the test of time.
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You always have to appeal to your audience. You always have to consider how well your project will do in terms of admissions. I abandoned many stories because of that. But I don't get too down about it. It's something I accepted from the time I decided to work in films. I could always do something else if I got sick of it, like draw manga, or make my own films. I found it pointless sitting in my house not working, though I'd like to go on extended vacations from time to time.
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I did Vibe, and I felt old and paternal. I've got ties older than people in that audience. I had a talk with myself. I said, You've got to deal with this better.
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You can't expect the audience to feel anything if you don't.
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Nothing runs forever. How you handle it, the most important thing is how you respect your audience, how you respect your cast, and being incredibly sensitive to how you wrap up any show when it ends a successful run.
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In my songs, I try to look through someone else's eyes, and I want to give the audience a feeling more than a message.
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I think it's important for me, for my crew and for the audience to bring something new to each show. I have friends who have done the same act, word for word for word, for 20 years. I have a problem with that. I think the audience should see something new in each show.
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If I do a picture, I want the audience to be the people I was just packed against on the subway or on the street, walking on Fourteenth Street. I don't want it to be some narrow public that I myself feel alienated from.
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I need an army. I need people out there who are either preaching with me to different audiences that I can't get to or who are implementing the work and helping people actually learn their why or practice their why or implement their why because I don't do that.
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Ballet has a very small audience, unfortunately.
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You're out there on a high wire without a net, and that's the way actors operate. They have to be fearless about how they work and they have to create a life for the audience in 90 minutes and make them believe.
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There's no such thing as a passive audience.
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I want my audience to say, "Wow, this is a film I'm benefiting from. I'm benefiting from what this filmmaker is trying to say." I'd always rather learn and be entertained than be entertained and feel myself getting dumber by the moment.
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You listen to the audience. The audience is wrong individually and always right collectively. If they don't laugh, it isn't funny. If they cough, it isn't interesting. If they walk out, you are in trouble.
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You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.
