Audience Quotes
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I don't think half my stuff would be funny if the audience didn't feel at least a little bit safe that it's not how I truly feel.
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I think it's the most wonderful thing in the world to have an identity, something the audience can remember you for.
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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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I've experienced plenty of times when something I think is funny doesn't do very well. And there are times when something I don't think is funny makes the audience laugh so hard.
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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 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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The first time I played in front of a live audience, I realised I wanted to be a musician. I was about four years old and had always liked music.
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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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But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That's why I call it the most social of the various art forms.
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I am thrilled to become international 'Vogue' editor at Conde Nast International, which has a real commitment to journalistic excellence, and to have the opportunity to write for a wider global audience through the 'Vogue' websites.
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I'm looking for conversations that will be meaningful with people that want to have meaningful connections with an audience.
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It would be a crime against Twilight audience to go R-rated... Yet the rating is based on a much more mature book Breaking Dawn,Stephenie Meyer. We need to progress and be more sophisticated.
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Violent resistance and nonviolent resistance share one very important thing in common: They are both a form of theater seeking an audience to their cause.
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I think ultimately that's why the audience will tune in longterm, for the characters and the relationships.
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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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What I am finding now is that my audience is getting younger as I get older, which is a very good thing as you know - you don't want them to get older as you get older.
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In New York, you couldn't wish for a nicer audience, or in L.A., Chicago, Boston. But when you get into secondary markets, they don't have a clue.
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My parents were my worst audience.
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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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Over time, quality work will lead to an audience for your work.
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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 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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Be true to your audience, or you will lose money.
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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.
