Quotes About Audience

Young readers are the most challenging, demanding, and rewarding of audiences. Adults often ask why I write for the younger set. My reply: 'I can't think of anyone I'd rather write for.'

It is not entirely true that a TV producer or reporter has complete control over the contents of programs. The interests and inclinations of the audience have as much to do with the what is on television as do the ideas of the producer and reporter.

We don't really need reviewers, just first-night reporters who will tell us faithfully whether or not the audience liked the show.

I'm not totally blind to the fact that I like people to see my work, but if it's not something I would enjoy seeing in a magazine, then I think I shouldn't be making it. I think that I don't represent only myself, I represent more people; I mean, if I like it, then I think more people will like it because I think I'm quite a normal guy.

There's a reality that the market is changing, and the stories of the Latino community need to be out because there's a huge audience in need of films that would represent them.

The reactions haven't differed; the concerns have been different. When I read for a predominantly Indian audience, there are more questions that are based on issues of identity and representation.

The audience is an absolutely critical part of 'Question Time' and selecting that audience is a big and very important job every week. What we need to do every week without fail is make the audience politically representative of the picture across the nation.

I'm the audience's representative on earth.

I have the audience I deserve. Or at least I have the audience that represents the kind of people that I like.

An album represents an artist or a band or a group of musicians at any given moment in time. You just produce the music that you feel good about and hope that the audience shows some interest in it.

I don't like to talk about politics. If you say you're a Democrat, that'll turn off Republicans, and that's half of your fan base.

I've built a comedy brand for myself that is, one, really satisfying and fulfilling personally and, two, has been able to cultivate this young female audience that's hungry for knowledge, information, and entertainment.

I go where people are hurting. I stand on the stage, and I make people laugh for an hour and a half.

I didn't care if I was aching or hurting. I wanted to give the fans their money's worth.

You get about 20 people in the audience calling you a cheat. It hurts your feelings.

It makes you feel good when you do a song that, sonically, can fit right next to Drake. But our audience, they don't care. And it hurts that they don't care!

The bigger the crowd and the more hyped they are, the more hyped I am.

I'm a great audience myself. I tried to keep in the background while others were on, but sometimes I'd just get hysterical.

To me, the ideal artist-to-audience relationship is a one-to-zero relationship. The artist should be granted anonymity.

I think one of the big things about comedy is the ability for the audience to identify.

You want people to identify with the person on the screen or in the theater, but you don't want them to identify with you as a person.

My concern has always been to write songs that my audience, my fans are able to identify with.

When I go to the movies, I'm expected to identify with all of the characters, and most of them are white. But when you put a black character in there, somehow the white audience isn't expected to identify with them. That's a problem.

Perhaps 'Borderlands' can be a lesson for all of us - that when making a videogame, we should not be afraid to identify gamers as the audience.