Quotes About Audience

I think it's sort of rare in TV shows or movies to see people being vulnerable. That's sort of scary to an audience.

I feel really held in being vulnerable. That's always been the kind of music that I've gravitated to as well, but to feel really supported by my audience in that is a real privilege.

I've never been afraid of being vulnerable on stage. It's a large part of life, and I think it's being dishonest to disallow an audience to see that side.

When you're playing rock music to 10,000 people, you almost attack the audience. When you play acoustic you're waiting for the audience to respond. It's a reverse energy, and you're more vulnerable. It's really intense.

In a horror film the protagonist should be vulnerable enough for audience to be worried about him. You can't have a six feet boxer and expect audience to worry about him.

Musicals are plays, but the last collaborator is your audience, so you've got to wait 'til the last collaborator comes in before you can complete the collaboration.

Listen, wait, and be patient. Every shaman knows you have to deal with the fire that's in your audience's eye.

The way the press works, people don't like to review or talk about EPs. It's considered, 'Why don't you just wait for the record?' But for someone who's creating, and the audience, they can get material quicker. I almost feel like putting out a few songs every couple months might be better than putting out an album every year or two.

It's better to finish at the peak or soon after it, than to wait until the audience notices a decline.

There is an audience for every play; it's just that sometimes it can't wait long enough to find it.

If a comedian tells a joke that you find funny, you laugh. If he tells a joke you do not find funny, don't laugh. Or you could possibly go as far as groaning or rolling your eyes. Then you wait for his next joke; if that's funny, then you laugh. If it's not, you don't laugh - or at very worst, you can leave quietly.

With 'Fallout 4,' we've done over 20 million downloads, and most of that is mods. That's a staggering number. It has always done well on the PC - but the console audience has such a hunger for it because they've waited so long. We think there's a really good future there, with both 'Skyrim' and 'Fallout 4,' that we hope to continue to add to.

When we'd suggested doing it, the Theatre Royal management had said, 'Nobody wants to see Waiting for Godot.' As it happened, every single ticket was booked for every single performance, and this confirmation that our judgment was right was sweet. Audiences came to us from all over the world. It was amazing.

You can't play Batman in a serious, square-jawed, straight-ahead way without giving the audience the sense that there's something behind that mask waiting to get out, that he's a little crazed; he's strange.

I think too often in films, people think endings are a summation of plot, and I don't like that. Because once you know where you're going as an audience member, then it's like a video game. You're just waiting for them to get through the levels and beat the bad guy. And I just think that's boring.

Sometimes I forget that I'm supposed to keep people entertained because I'm just making music for my lifestyle and for my people who live my lifestyle. We forget that there's a world waiting on us.

I'll give you my worst nightmare. I'm dreaming that I'm onstage, the curtain goes up, and I have no idea what my lines are or what's going on. I think I should know, I kind of know, I remember rehearsing... and the audience is there waiting.

You have that moment just before you go on - I've had it in every play - where you just kind of want to run away. There's a whole audience, and they are waiting outside, and you're like, 'Why am I doing this again? Why? Why?'

I would come home after school and begin to create videos, because there was people waiting to see new content from me.

Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.

The principle element in a performance is risk, and if you're losing interest then by scaring yourself to death the audience will feel it and boy it'll wake them up.

I had to drop a boulder to wake people up about the A.R.T. We've done that, and now we have audiences again who want cutting-edge work, who want to be challenged, but who also won't be falling asleep at the theater.

People didn't suddenly wake up one morning and unanimously say 'I'm fed up with midbudget dramas. I'm only going to see action tent poles from now on!'

We feel like 'Lost' deserved a real resolution, not a 'snow globe, waking up in bed, it's all been a dream, cut to black' kind of ending. We thought that would be kind of a betrayal to an audience that's been on this journey for six years. We thought that was not the right ending for our show.