Quotes About Audience

My perspective is that, when you're a kid, if your audience is a group of children or teenagers, you do have some level of social responsibility. I feel that.

Frankly, seeing my plays with an audience is something I do with gritted teeth; I find the experience very difficult. I love the moment when you have just the dress rehearsal, when no one's there; that's kind of the peak to me. When people start filing in, I like to file out.

It's funny how concert dreams are such a recurring thing among musicians. It's like how everyone has that dream of their teeth falling out? Except musicians have this dream of just standing onstage and there being all these people out there, and for some reason, the song isn't starting.

Why is everyone so obsessed with attracting the young? The Telegraph, Radio 4 - everyone wants a younger audience when everyone knows the population is getting older and older, and that older people have more dosh than young people.

There are great news anchors; they're probably very smart, but they're not talking to the audience like real people. They're just reading from a teleprompter.

In a live performance, it's a collaboration with the audience; you ride the ebb and flow of the crowd's energy. On television, you don't have that.

Contemporary art will never achieve the audience of football, pop music, or television, so I think we should stop comparing its possible area of influence to that of big mass-media events.

Television is growing. It is a huge market for great content.

Rather than lose the public because television is here, wouldn't it be smart to adopt television as our instrument?

I've always felt that improv looks and feels more clever when you're there to experience it live than when you have the degree of separation that television creates. Television raises expectations.

Conspiracies are a perennial favorite for television producers because there is always a receptive audience.

If you're a singer, you do concerts, and you get that interaction with fans and see what cities in what part of the world come out to see you. When you're on television, you're removed from that.

'Profit' in my mind is as good as television gets, and if that didn't make it, all bets are off on really predicting what's going to work and what's not.

I find that the stuff on television is more exciting than the films, which are for teens almost.

To me, the real genius in making television for kids is making something that inadvertently - or perhaps intentionally - becomes something that can be enjoyed by people of all ages.

I really do like being on stage. Compared to television I have a lot more control - it's a lot more relaxed and loose.

People around the world get to get a sense of who you are through reality television. They are so engaged with you that if they love you, they will support you for life.

When I present 'Million Pound Drop', I'm screaming the right answer in my head just like you're screaming at the television screen.

I can't think of a performer who is better on television than in person.

My fantasy for children's television is that it's not really children's television, it's everybody's television.

I think figuring out how to do the best job you can, because frankly, no matter what gender you are - in television news - you're all measured by the same thing: which is the news you make or break, and the ratings you are able to deliver. But, how the audience hears you - or how the interviewer does - is also interesting.

I work from a deep sense of insecurity. I have the belief, and I can't shake it, that there are endless reasons to turn the channel. There are hundreds of channels and entirely other things to do besides TV. And if you make a bad television show there's no reason for the audience to come back the following week.

I think the key divide between the interactive media and the narrative media is the difficulty in opening up an empathic pathway between the gamer and the character, as differentiated from the audience and the characters in a movie or a television show.

Year Two is a critical year for any television show.