Audience Quotes
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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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On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.
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The audience usually has to be with you, I'm afraid. I always regarded myself as not even preaching to the converted, I was titillating the converted.
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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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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 can't force an audience to see something they don't want to see, no matter what it is.
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If my musical tastes are continuing to grow up, and I am not really too interested in the music that my kids listen to, then I assume that the audience is doing the same.
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'Toonami' was a tremendous vehicle, delivering the art of Japanese animation to a massive audience that may have otherwise never experienced it. I feel an immense debt of gratitude to everyone involved with the show and to every fan who supported it.
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I shoot people in a way that makes the audience feel equal to them. And it's hard to express and it's hard to execute but I think it works on every level - the choice of the material the choice of the actor, my relationship with the actor, and so on.
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The audiences like to think that satire is doing something. But, in fact, it is mostly to leave themselves satisfied. Satisfied rather than angry, which is what they should be.
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Solidly know content you feel passionate about and that your audience needs to know.
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Ballet has a very small audience, unfortunately.
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I used to tell people when I preached at a church, 'If you want a great sermon, be a great audience.'
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I always think if it's a good story, the audience can't wait to run out of the theater and go tweet somebody with the gist of a story, in a nutshell, almost, because it was that interesting.
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The only reality of the theater exists in the mind of the audience.
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I think everybody ought to be allowed to be engaged in athletics at whatever level the audience will accept.
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You can't do psychological thrillers. There's no audience. I've heard this. I've heard this from studios.
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You've got to have a sense of different audiences. I'm a kind of performer manque - I come from a long line of failed actors!
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Art has a smaller audience than, say, movies or other forms of mass consumption. But that doesn't mean the work doesn't have an impact in a way that transcends just a few cultural arbiters.
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There are people who try to figure things out. Often, magic is presented in a way that sets up a challenge that I actually find kind of appalling. You know, "I'm clever, I can do something, and you don't know what it is." And that instills in the audience the idea that, "Yes, I do. You're not that clever."
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I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.
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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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I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.
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The experience of going to a theater and seeing a movie with a lot of people is still part of the transformational power of the film, and it's equivalent to the old shaman telling a story by the campfire to a bunch of people. That is a remarkable thing, if you scream and everyone else in the audience screams, you realize that your fears are not just within yourself, they're in other people as well, and that's strangely releasing.
