Quotes About Audience

Audiences remember you because of your work, so I believe in working hard through my films.

Historically, stop-motion animation has had a jerky-jerky quality, which is a constant reminder to audiences that they're looking at artificial objects. It creates a barrier between the audience having an emotional experience and what they're looking at. We're working hard to get past that.

The challenge at this point is helping a brand understand they're not just commissioning a viral video but tapping into an existing fan base and an audience that's very loyal... It's two brands working together: the Rhett and Link brand and their brand.

I don't have any ego about it, but I find there's not a great work ethic in show business. A lot of people are in it to make money, and coming from stand-up, you have to work so hard because almost nothing works, and if you lose the audience for three minutes, you're dead.

Learning how to communicate to big audiences, and how to frame a message in a way that works in a sound-bite world, that for me is very challenging.

Really, when people put together the highlight reels of the classic moments from 'Friends,' 'Seinfeld,' 'Cheers,' even 'MASH,' they're full of broad slapstick comedy. Call it cheap or lowbrow, but it works and it works for people of all ages.

Bob Dylan may be the Charlie Chaplin of rock n' roll. Both men are regarded as geniuses by their entire audience. Both were proclaimed revolutionaries for their early work and subjected to exhaustive attack when later works were thought to be inferior. Both developed their art without so much as a nodding glance toward their peers.

I follow a simple formula when I compose. I ask myself, 'What would the audience want to hear?' and 'Why would they buy my CDs?' And the process of answering these questions through music follows. Sometimes, it works. Sometimes, it backfires.

When we perform music at TV shows, we always try to do something that's not scripted because anything that's a surprise for the audience and the crew and the other performers, it works better on camera and for the people back home, too.

To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.

If they're working in a workshop somewhere, where there is, let's say, uh... only twenty people, or something like that, that's still, when they work and do a scene, that's still working in front of somebody.

I always feel a little funny being in front of a lot of people trying to show them my approach to the ukulele, but I do enjoy it. I do get a little more nervous doing workshops rather than performing.

They're the best critics. Workshops are good, and drama teachers are fine, but the best is the audience. And even better if they're paying!

I didn't have to win, and winning wasn't important to me. Being world champion wasn't important to me. What was important to me was entertaining the audience, and whether that meant winning, losing, singing, or whatever it was on the live show we were doing every week, which was awesome, I was game for it.

If there are watching, for the World Cup final, 500 million people or something like that, and 100 million for a women's final, that's a difference. So it's not the same.

'Big Bang' is very tightly scripted. Because we shoot in front of a live audience, it's basically like doing a filmed piece of theatre, really.

Yet, that's what studios do. If one thing works, they'll keep doing it till it runs its course and people aren't interested anymore.

I love what I do, and if I'm playing for people who love what I'm doing, I don't really care, I'll keep playing till the cows come home.

I get scared of such love where people come out of the theatre and say, 'This is the best work of Anubav Sinha till date.' I feel the pressure and wonder what will I do next.

Getting an audience is hard. Sustaining an audience is hard. It demands a consistency of thought, of purpose, and of action over a long period of time.

If you have the same guys at the top of the card all the time, people get bored of it. They don't want to see the same guys wrestling over and over again.

There was nothing about 'The Killing' that patronized its audience, and it was quite slow and detailed, all of the things which, for a long time, people had been nervous of making.

The first time people come to see me, it's usually because they're curious. Then maybe some of them return. I look out in the audience and see the same faces, the same wonderful, loyal faces.

I don't even have to drop an album and I pack out shows. That goes with timeless music.