Audience Quotes
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If you're a content brand, you have to be in every place your audience is. Sometimes your audience is on the couch and wants to watch a 30-minute show, and sometimes they're checking their Facebook feed and want to see something that's only a minute long.
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Our audience, it has been a more difficult process for classical music audiences around the world, and I'm not completely certain why.
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A politician's words reveal less about what he thinks about his subject than what he thinks about his audience.
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My own personal taste in films as a member of the audience was not completely in line with films I was doing.
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Because I'm a filmmaker at heart, I know a villain can't be too humanized and the audience can't empathize with him too much.
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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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Drawing is the most inalienable medium. It is private; it practically doesn't have an audience in mind, just the artist's expression.
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The personal boundaries, I think for comedians they're a little bit different anyway, but I think people - feel free to do stuff - It's interesting with comedians because when we walk on stage, oftentimes we're talking about ourselves for an hour and we're talking about very intimate details, so after hearing us for an hour, a lot of people feel very comfortable with us because they feel like they know us and they're our friends because we just told them our innermost secrets and details of our lives for an hour. What they forget is we know absolutely nothing about the audience.
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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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As long as I can make that audience one thing, one unit, then I'm okay with it. But, sometimes, the bigger the audience, the weirder it gets.
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I'm honored that other comedians like what I do. That means the world to me. But at the same time when I'm on stage I'm not just trying to make the comedians laugh - I'm also trying to make the audience laugh. I want to make everybody laugh.
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Audiences in London arrive stressed out of their minds because they can't find anywhere to park, they can't find their tickets, whatever. There is a great joy in being out of London because people are in their seats, waiting for you, waiting to watch the show, not rushing in at the last minute. They are there because they want to see the show and they know how to listen.
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It's just hard to say, "Well, I do this, which means this." If I'm telling you exactly who I am, then there's nothing for the audience to say.
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To make our communications more effective, we need to shift our thinking from "What information do I need to convey?" to "What questions do I want my audience to ask?
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There aren't that many growing, independent Web sites that have picked up a large audience. Pretty soon, there won't be any left.
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The first film that really knocked me out was Alien by Ridley Scott. This is a great movie because no matter how many times I watch it, I still find myself fully invested in the characters despite the fact I know what is coming. I think it was this type of mastery of storytelling and the ability of bringing the audience so completely into another world that made me want to become a director.
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The audience is the source of the energy that I project back to them.
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Any type of humor can be transferred to the screen, as long as there's clarity. The audience wants to know just what they're supposed to be feeling, when they're supposed to laugh.
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The larger your audience, the smaller your vocabulary and range of referents - the fewer your means of expression. You can't rely on the luxury of intimacy.
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You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.
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With comedy, you never know until you put it in front of an audience. You shoot it and a year later you have no idea if it's going to work. And then you get the response. It's great when it's good.
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There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to, first of all, the environment in which it's being staged; then the audience, the nature of the audience, the quality of the audience.
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I like performing. I like partnering with an audience.
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I look at all of world mythology and folklore as my toy to play with. There are just so many characters and creatures there I want to put on paper. It's a really exciting thing for me to take material that I really love and put a new coat of paint on it and present it to this audience. And I don't have to make up any of the characters. I can just pull a book of mythology off the shelf and say, "I'll use this guy." I also hate making up names for fantasy characters. I'll just flip through these books and say, "Wow, this is way crazier than anything I could make up".
