Audience Quotes

There's no greater way to gain an audience's sympathy than by being unfortunate.

I never play a villain that I don't have something I can either do or say so the audience sees there is something redeemable about them. In other words, I don't want to do evil for evil's sake. I don't want to do Jason slasher movies. There's no point in that.

You find out your mistakes from an audience that pays admission.

I know there are people who don't like their audience or like the experience of being recognized or celebrated, but my audience has been very good - they don't bother me and when they do contact me it's usually on the nicest possible terms.

Happy Days, which we did for 11 years, we did with three cameras in front of a live audience. Very special. We had a party every Friday night. The boys, Ron, Henry, they grew up on that show.

Although it is a fantasy film, it's as real as it can be. You have to imagine that an audience will buy their ticket to a cinema and get on a first-class flight and journey to Middle Earth.

The audience is the camera. I don't want the audience to sit and watch, I want it to move.

You need the audience to become invested in the characters and in order to become invested, they need to identify with the characters... and that's why the characters need to be real.

Every single night I'm nervous. You never know how the audience is going to react.

I always wanted to see if I could sell a movie to the public without doing any marketing because my philosophy was like, hey man, I'm reaching my audience everyday. I'm twittering with them. I'm in direct contact with them on the podcast.

Being in the audience actually looks like quite a lot of fun.

The first time I got up in front of an audience was terror, abject terror, which continued for another four or five years. There still is, a little bit.

I'd just love to have an audience and it's the most fun in the world to get a new script every week and have the audience come in, and work with those actors.

When I sing, I feel like when you're first in love. It's more than sex. It's that point two people can get to they call love, when you really touch someone for the first time, but it's gigantic, multiplied by the whole audience. I feel chills.

Even Hitchcock liked to think of himself as a puppeteer who was manipulating the strings of his audience and making them jump. He liked to think he had that kind of control.

If something is successful with the audience, it's automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!

Since we didn't use guns, we wanted to make sure we could earn the ability to win the audience over by making it believable. A lot of what you do when you work out in that mode is use your mental energy.

When there are tiers of meaning in an ad it intrigues the audience and they look for it again and again.

Intimacy comes from being yourself on the stage and making the audience feel, without trying, that you're sittin' down there with 'em, playing, and that can happen in a big hall, if you have a good audience that want to listen.

I firmly believe lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you have costume, story, acting, orchestra.

If the audience never understands the plot, it can be counted on to be attentive to the very end.

I have been able to get a small audience. It's not the huge audience, but it's enough to make it possible to play. I appreciate that.

I feel like what I owe my audience is what I'm most passionate about.

I want my audience to know me for my work, not because of who I'm dating or what drugs I'm on or what club I went to.

I do not write for an audience.

I just like observing people - it's something I've done ever since I was a kid, and I got really good at it. That's a big part of why I became a comedian. My audience is filled with every kind of person you can imagine, and I love that.

Dark comedy is very difficult. You have to bring the audience in and push them away at the same time.

You can't instruct an audience to laugh, but what you can do is read well and understand the spirit and subtleties, if there are any, in the dialogue.

I don't want to fail the audience. I don't want to let them down.

I hate the actor and audience business. An author should be in among the crowd, kicking their shins or cheering them on to some mischief or merriment.