Quotes About Audience

The film depends on the audience's belief in this relationship.

When you walk out in front of an audience of over 70,000 people, you've got to be on your game. They deserve it.

I'm incredibly proud of the show 'Portlandia' that I do, but it's designed for an audience that just wants that and loves that.

The experience you're going to take the audience on is as important as the story you're trying to tell. And that experience needs to excite me so much that I am desperate to share it.

We should become an all-encompassing entertainment and information destination.

There are two kinds of hecklers: the destructive and constructive hecklers.

I believe that for the audience the best way to give the commentating is to avoid going into the deep, deep details.

I've got to the point where I just get on with it and the content of what I put on the records is determined from what I learn from the audience, from what works live, from what I want to hear when I go to a club or what I'd like to play when I get home.

The audience determines whether they still want to watch you or not.

What do you call success in our sport? What determines success? Are you successful if you are 10-0 and no one is watching your fights? Is that success?

There are two kinds of films: the ones that are devoid of logic but can still hijack the audience, and those that can win them over with logic. Both kinds can succeed, and I like to work in both.

My biggest asset is not cash - it's a large, growing, devout fanbase.

If people are going to watch TV, let's give them something coherent with actual dialogue.

What makes that turnstile turn? That's what made wrestling what it has become. The fans dictate the direction of the wrestling industry.

It's the fans that dictate what wrestling is. That's the one constant from 1917 to 2017.

When I'm doing an appearance somewhere and taking questions from the audience, I can always count on: 'Tell about the guy who died on your show!'

I like making films about different cultures. I'm interested in things that I've never encountered before. I try to put myself in the audience's position.

I've always liked being on the performance end of it. I've come up with different ideas, but as far as being a creative writer, I'm not sure about that. I've always liked the performance end of it and wrestling, getting in the ring in front of a live crowd.

Well, we certainly weren't making a cartoon show for kids. It was a completely different kind of idea.

I may have a little bit of a talent for music, but I've learnt to tap into my own self when I write. When I put the drill bit inside my heart, sometimes I come up with something light and frothy, sometimes with something deep and painful, but it's great to connect with the audience.

I don't think we've ever known what the hell's going on when we do Tap shows. It's possible the audience are effectively getting to see more of the movie when we play. You know, they know the songs, so anything we do onstage, whether we're meaning to or not, is an extension of the film. Other than that, I wouldn't understand what's going on.

I think the first role I ever played was the Magic Carpet in 'Aladdin Jr.' I did a lot of tap dancing and not a lot of dialogue. But I loved it so much, and I loved the way people responded to the characters.

I do believe that a poet would possess a stronger intuitive sense of phrasing with a rock song. There is a way to tap into the emotions of an audience simply by the cross of a certain phrase, even a single word, against a certain chord.

Every four or five films we've made a film that has gone on TV first. It's quite nice to tap into the TV audience, but it is nice to see it on the big screen too.