Quotes About Audience

The real thing is, you should be seeing these plays in the Theatre. That's what they were written for. That's where the enjoyment is. Studying them is no enjoyment whatsoever.

I'm not trying to teach anybody anything, I'm not trying to say anything, I have no political motive whatsoever. My motive is just the big laugh.

I could keep trying to do the same kind of comedies. You know how it's going to go, and you can get an audience with it, but then I feel like a hamster on a wheel.

It used to be CNN and other television outlets were founded on this idea of a news wheel. You give us 22 minutes, and we'll give you the world. But that's not the way people consume news and information any more.

You're not going to reinvent the wheel every time you go out, because that would disappoint the audience.

I wouldn't be surprised to learn that Clinton cost John Kerry more votes than he gained for him whenever they appeared together. Imagine being part of a crowd enraptured by the presence of Bill Clinton, and then having to listen to a speech by John Kerry!

Whenever we play new material, eventually some of the songs become classics themselves. They can't become that unless you play them. Any new song is not going to go down as well as some of the old stuff, because obviously the old stuff the fans know inside out.

Whenever I play recitals, the part where I talk about music and my experiences of music, audiences always like it. They feel more involved with an artist who talks to them. It's a nice experience for me as well.

Whenever I sing a song, I just want it to reach out to the audience.

Whenever you finish an artwork and the viewer comes and views it, at that moment you've given up control.

Whenever I work on a song, my focus is on the listeners who follow my type of music.

Whenever I open a movie, I go secretly to the theater and stand in the back and enjoy the moment. I laugh when people laugh, and when people cry, I laugh.

The audience for 'Lootera' is far less than for my other kind of films. Just because I pulled it off doesn't mean I will change my tastes. I love to watch masala films, and I love to sing, dance and say those larger-than-life dialogues. But whenever I get a chance, and I really feel the connect, I will do a performance-oriented film.

A performance is only as good as the audience you are playing to. A lot of times you feed off of the audience, and we always try to give them all we've got and sometimes you don't get a lot back, but we've never been dead whenever we've performed.

I think the inspiration came from the fans. Whenever I'm online or whenever I get a chance to really communicate with the fans and the audience, they always say that they would love to have all of the remixes on one CD.

Whenever people get to see you, it's a great thing. Once people see an image and see the character, they can get into the music a lot more.

Standing ovations have become far too commonplace. What we need are ovations where the audience members all punch and kick one another.

In comics the reader is in complete control of the experience. They can read it at their own pace, and if there's a piece of dialogue that seems to echo something a few pages back, they can flip back and check it out, whereas the audience for a film is being dragged through the experience at the speed of 24 frames per second.

Sometimes improv doesn't work on TV because the audience had heard the thing that was shouted and they're very much alive, the audience in the room - they're alive in that moment. Whereas the audience sat at home on the sofa, it feels like it's part of a party that they haven't been invited to.

While 'Teachers' may have had its following, it was on late-night Channel Four, whereas 'EastEnders' was seen by millions and millions of people. I certainly don't have the cache to sell a programme like that, and certainly nobody's coming up and asking me to.

A different demographic of people watch NXT compared to Raw and Smackdown; NXT is followed by the real knowledgeable, hardcore internet audience, whereas the main shows have a more family feel.

Whereas with foreign coverage there's a much broader disconnect between you and your audience.

If you've got a camera that's two feet away from you, you have to bring it all back down. It's a lot more insular. It's different brush strokes. Whereas on stage, you're playing to people who, depending on the size of the theater, might be 40 meters away from you.

There's so much control of the audience's experience when you're on stage doing a play, whereas when working on camera, there's a lot of people that have to do a lot of things exactly right for anything that I do to matter at all.