Audience Quotes

This was almost two hours of factual documentary. In our audience ratings, barely no one left the programme. The whole of his life is so fascinating and people kept watching for that reason.

You can't but know that if you can capture the emotions of the audience as well as their minds, the play will work better, because it's a narrative art form.

You can't really tell what the audience wants but you can tell what will keep everybodies attention in the same place.

In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.

The other thing that has made playing live for me more enjoyable is the audience. I never knew I had such heartfelt, loving fans.

I don't know if I'd want to do that anymore, because you always get bigger laughs on college campuses. So, when the film plays in front of a city audience, you've probably cut too loosely.

I prefer to think of the audience as a single living organism with which I am sharing a singular, never-to-be-repeated experience.

For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.

My audience are the same people who bought my albums years ago. These people are now married, with their own homes, their own families. If I'm in concert, I get people now who bring their kids.

I like playin' for an audience the best, though, I think.

It doesn't matter what you feel - ultimately, it's what the audience feels. You can finish a scene and think to yourself, 'Oh, God. I was so deep in that moment,' and find it just didn't play. I don't know if I have very good radar about that or not.

How can you get bored if the audience is cheering and laughing at something you're doing?

I like the idea of being out there regularly with an audience and with a funny gang of people. That's what I grew up with - doing television, doing shows every week.

One must never assume that a character is sympathetic because of either the actor playing them or the fact that they're a lead. I think that's a recipe for failure, actually, because if they become unsympathetic, you lose your audience.

Over the years, I've been trying to build a relationship with an audience. I've tried to maintain as much of a low profile as I could so that those characters would emerge and their relationship with audiences would be protected.

You look at John Travolta in 'Pulp Fiction,' you look at Donnie Wahlberg in 'The Sixth Sense.' People have liens against them in crazy ways and the audience is always forgiving - if you prove it.

How does my music connect to an audience? That is just a complete mystery to me.

In comedy, though, it's good to get feedback from the audience about what they find funny.

No matter how many times people say it - 'Oh, I'm just writing this for myself' 'Oh, I'm just doing this for myself' - nobody's doing it for themselves! You're doing it for an audience. So whether I'm performing or writing a book or playing music, it's definitely to be put out there and to be received in some way, definitely.

When you make a film like this, you must have the highest expectations of your audience. Having worked in situations where we have the lowest expectations of our audience.

One reason I do the live shows - and the monthly speeches at public radio stations - is to remind myself that people hear the show, that it has an audience, that it exists in the world. It's so easy to forget that.

And there's a lot of that stuff with people bringing their kids, kids bringing their parents, people bringing their grandparents - I mean, it's gotten to be really stretched out now. It was never my intention to say, this is the demographics of our audience.

For me, until I know that the audience really gets what I'm trying to communicate I'm not done.

The entire season, the show had never been aired for more than three weeks. You can't get an audience that way. They would never promo the show for the next week.

I'm trying to sell every audience something; that something is me.

For Scary Movie 2, we had a due date and had to work fast. And though there's a lot of pressure, as artists, we just block it out. So really, the pressure comes from us. That's how the first movie happened. There was no outside pressure: we wanted to hit the audience hard.

You can watch someone on-stage cry and cry - but in the audience you feel nothing. It's easy to become indulgent. For me, what's important is the story first.

Yeah I do and I don't mind, in fact that is one of the real encouraging things about this whole career of mine is that there are tunes I wrote almost thirty years ago that I will still play in front of an audience and I still like the old tunes.

Don't dumb it down. The audience is smart and gets what you are doing.

I think it's because it's so different and it takes risks. Plus, it's really smart humor. It gives the audience credit in terms of not needing to tell them when to laugh. I love that about the show. There's no laugh track.