Quotes About Audience

People loved the first two 'Toy Story' films so much, and the last thing I wanted to do was make a disappointing third film.

Leave a movie audience inspired, and they will want to ingrain that movie into their lives with the toys, branded food products, soundtracks, and clothing they buy.

But I always communicate with the audience. I never pretend like I'm just in my bedroom making a track. The whole point of doing a gig is, like, a feedback thing between you and the audience.

I think it's because it's so different and it takes risks. Plus, it's really smart humor. It gives the audience credit in terms of not needing to tell them when to laugh. I love that about the show. There's no laugh track.

We don't have a laugh track, which helped Seinfeld a lot, and did kind of tell people when to laugh. It just made it a lot easier. Our show doesn't have that, so it's hard for Middle America to catch on.

When an audience is affected in a way that I've seen with some people, it's so inspiring to me an actor. You know that you're on the right track and you're doing work that can affect people. When that goes hand-in-hand with important issues that we're still living with, and we will be for a long time, sadly, it's so confirming of everything.

What you never want to do is have a story that doesn't track emotionally, because then you're going joke to joke and you're going to fatigue the audience. The only thing that's going to string them to the next joke is how successful the previous joke is.

If a movie has more characters than an audience can keep track of, the audience will get confused and lose interest in the story.

My track record suggests that I'm not quite a mainstream darling, that's for sure. I don't want to only cater to a small audience, but it's just kind of worked out that way.

The role of a DJ is being able to keep people on the floor for X amount of hours so you can't just push buttons to do that, you have to have good tracks and a knowledge of where to take people.

I have an aversion to laugh tracks - the moment I hear a laugh track, I go to another channel.

My debut performance was on the railway tracks where I was asked to sing some Hindi songs in front of a mafia gang and around 20,000 more people were present. I sang in fear and danced too and luckily, they liked it.

So many shows don't have laugh tracks now that, when you hear it, it can be slightly jarring.

You get way better from playing to the passing public. You learn how to entertain. But it took me a good three years out on the promenade to figure that out. You also learn what makes them stop dead in their tracks and what doesn't.

The music you play, it's never intended for other people, so it's quite amazing dealing with stuff now, because obviously any tracks I write, a lot of folks are going to hear. It definitely plays on my mind quite a lot.

The last Simply Red album, 'Stay,' was good, but the first three tracks were designed for radio play. They were written to meet people's expectations of Simply Red.

Privacy is relational. It depends on the audience. You don't want your employer to know you're job hunting. You don't spill all about your love life to your mom or your kids. You don't tell trade secrets to your rivals.

For me, I want to get across the stage to the people. I want to point at you, thirty, forty rows back, and you know I'm pointing at you, and we're having a laugh and getting it together.

I love playing big rooms. There's nothing like it. It's a power trip.

Musicians can travel all over the world and have an audience, because there's no language barrier.

All my TV shows are done live in front of audiences, and all the material I take on the road and travel with them test them for hundreds and hundreds of shows before I shoot them for TV.

I always thought it would be really cool to be playing the drums in the show and then have your astral body or whatever travel all through the audience and dig whatever it's like out there.

Records have always been the most extraordinary form of time travel for me, and that's why it matters to know when something was circulated, and if it had an audience of five or 50,000.

Readers travel so fast they don't stop to decipher the meaning of obscure headlines.