Quotes About Audience

What's most important is to create an atmosphere that's real, providing characters the audience can root for. Once they become emotionally attached, that's the secret in building a show. The audience can see themselves in these characters, and they respond to the stories.

We are proving that Latinos have the power to connect with an audience on a global level without having to leave our identity behind.

When we were a quiet, little-noticed channel telling stories from Russia, our audience was negligible. When we started being really provocative... our audience started to grow.

'Funny Games' was conceived as a provocation. My other films are different. If people feel my other films are, or respond to them as provocation, then that's quite different. 'Funny Games' is the only one of mine where my intention was to provoke the audience.

You've got to honor your relationship with your audience - that they sit down because they want to be entertained. And that doesn't mean you can't provoke them and antagonize them and challenge them in the course of the entertainment as long as you keep the entertainment part of the equation alive.

Anything one can do to provoke and inspire an interest in the works of Shakespeare in a young audience is fair game. Anything.

You play with the audience, and they play back with you. They get into it, and then everybody gets into it. I don't want to be like a monkey on stage and just go through the motions because then it wouldn't be fun anymore. I just pay attention to the audience and appreciate the fact that somebody wants to see us. That gets me psyched.

In India, there is a psychological problem that movies going to film festivals are boring. It is a problem with exhibitors.

Til 1983, I wrote primarily for other psychologists and expected that they would be the principal audience for my book.

When I first started doing exhibitions, you'd have 20 people down the pub, if you were lucky.

I suppose when I started out I didn't know the kind of comic I wanted to be at all. So in a way, the audience wrote my act. I went in and did stuff that I would have done in the pub, and some of it they liked, and some of it they didn't. And I kept what they laughed at.

I work for the public, for the people who are paying to go to the cinema, rather than for the critics.

I'll always be grateful to the public of intelligent amateurs.

There is already huge public interest in stage musicals.

It's good-bye to public life in the way that you try to communicate with an audience playfully, like we're friends, beyond the work you are actually paid for.

I get to hear the really good or the really bad things in the press, but I don't read it. I can afford to say that because public opinion does not drive U2's audience.

When you write a book for publication, you're writing it for other people to read.

You play to whatever publication you're being interviewed by.

People can see themselves in a story much easier than they can see themselves in a hypothetical situation that a brand might present to them. So telling stories to build a relationship with your audience is usually far more effective than other methods of marketing or publicity.

The publicity machine for films and television is so much bigger than for theatre.

I always look for genuineness. If I feel I can connect with the audience, I will try to develop it. For example, the genesis of 'Kannathil Muthamittal' was an article published in a magazine.

As a publisher, you should decide what content is free and what you'd pay for. You have to get the packaging right, but people will pay for content.

Novelists want to be published and need a publisher to decide to print 20,000 copies. So you need to entertain on some level. I want to reach out and connect.

Publishers are born connectors; they bring like-minded people together. They are also conversationalists of the first order. They foster the interaction between the three key parties in commercial media: the audience, the author/creator and the marketer.