Quotes About Audience

When you're someone in the media, the good thing is, I guess, that you can reach a lot of people.

I say what's on my mind and have a good time. I try to give people a show. It's all about giving people a good time once you get out under those lights.

At the end of the day, whether it's on film or on stage or for a crowd of however many at Kenwood House, my job is to make sure people have a good time and come away with a feeling and a story.

I don't worry about the crowds agreeing with me anymore. I want them to laugh and have a good time, but I think they can disagree with you and still enjoy it.

You've got to be this massive entity on stage, and just bring people in and make them have a good time.

The audience is expecting good work from me. They want me to do roles that are unique and important in the story. So, I am trying to focus on different characters to play. I am doing the kind of films which are completely different from each other.

When you celebrate somebody's bad work on the terms that define their good work, how can that artist have anything but contempt for an audience that can't tell the good from the bad?

Good writers have two things in common: they prefer to be understood rather than admired; and they do not write for knowing and over-acute readers.

He who knows the reader, does nothing for the reader.

insisted that a speaker must begin his message from where his hearers are, not where he is.

People naturally want to see two interesting people - one that they're predisposed possibly to like and one that they're predisposed to dislike - have a fight and see who wins.

When I first saw 'House on Haunted Hill' as a kid in Baltimore, and the skeleton went out on the wire, and the thousand kids in the audience went crazy... My whole life, I've tried to at least equal that cinema anarchy. I came close with the end of 'Pink Flamingos,' but I didn't tie with it.

You're out there on a high wire without a net, and that's the way actors operate. They have to be fearless about how they work and they have to create a life for the audience in 90 minutes and make them believe.

If 'ecstasy' means to stand outside ourselves, then what better ambition can there be as we wait in the wings of the Royal Albert Hall: to leave self-obsession behind and take the audience on a journey across the high wire of Beethoven or the flying trapeze of Liszt.

I want to be read. When you write a TV show like 'The Wire,' you've got three to four million readers watching your work. Even Grisham doesn't sell that many books.

In the metal world, if you're using a wireless mic... I was so scared to do that. I'm, like, 'They're gonna boo me in the beginning.'

Giving up your core business in search of a phantom audience is not wise.

The modern horror audience is wise to our tricks this lets it in on the gag.

I think in a play it's wise to just sit back and watch other actors and be able to shape it from the audience.

When I first started, as long as you were a bit brown, you could play any kind of ethnic anything. Now it's much more localised and specific. I feel like a wise old woman looking back on the evolution of how much more sophisticated audiences are.

In a movie we try to deceive. In theaters, as they say, the deceived are the wisest.

If you look at romantic comedies as pieces of commerce, the audience is looking for wish fulfillment.

Poets wish to profit or to please.

I liked working with Tom Christopher as he was great as Hawk, and Wilfred Hyde White but I wished it were in a different context as the changes really tuned off the audience.