Quotes About Audience

I've heard from other artists that people are a little bit more reserved in Northern Europe, which comes across at concerts, where the audience may be quieter. So this means less hecklers, but maybe it also means that people may not be as open about how they felt. I'm not so sure this is especially true of Denmark, but it's what I've heard.

I think that if an audience is truly appreciative of a performance, they will show it. Sometimes though, there are little differences, and there are audiences that are very reserved even though they are enjoying the show.

Doing a residency in any particular city requires a large repertoire to ensure repeat business.

When I edit, I'm not from the school of Hello, I'm a genius, so everybody shut up. I'm from the school of Let's play it once in front of an audience, and then I'll tell you where it is going.

People know I am not blind or have super strength, yet they believed in my characters in 'Oppam' and 'Pulimurugan.' It's that belief of the audience that is also my greatest strength. Once that is gone, I might have to shut up shop and look for another job.

When I sing, people shut up.

I'm always shy in front of an audience, so I'm always at the back, in the shadows, just doing it. I don't like the front, the adulation.

I love almost everything about my work except conferences. I am too shy in front of an audience. But I love signings and having eye contact with a reader who already knows my soul.

Getting an audience requires luck as well as talent. Some artists are private and shy. It costs them too much.

I sure do love theater. I mean, that's where I started. I am actually sort of shy, but something happens when the audience comes in. It's something nice for me. It terrifies me, but I'm able to do it.

I spent many years writing and directing in radio drama, so I am comfortable with an audience or a microphone, but I do worry about the blurring of an author's public persona with the work itself. A good 'performer' can make a mediocre book sound strong, and a shy author can leave listeners missing the excellence of his or her writing.

I'm kind of shy, and I think that I take that out by performing in front of a lot of people. That's how I get out my shyness.

I was really sick of bands just ignoring the audience as a posture in rock music. And I think we fed off each other in terms of trying to engage the audience, not in a hammy way, but actually trying to be aware of the space that you are playing in and trying to connect in some way through the music.

The big thing for me is to make films that you feel, whether you feel happy, whether you feel sad, whether you feel sick; it's to make the audience feel so that the next day they remember what they saw.

There are lines that I know are going to get a belly laugh, but after a few shows I get sick of hearing myself say them so I drop them.

My audience expects cold, hard truth. They don't expect me to dance around it. They expect me to say it the way they think it. That's part of my brand. If I don't do that, then my audience goes, 'What's up? Is he sick or something? What's wrong with him?' The entity has a brand.

My first song was 'So Sick,' which was my first number one as an artist, and I turned the mic around to the crowd, and they sang the whole song. Every lyric. That was my first experience with the power of music.

I do feel that the boys are getting left out. Girls will read boys' books, but boys won't read girls' books. If you're writing for a girl, you've got most of the audience on your side anyway.

The people follow what the media say. So if you said that Bruno Dumont is fantastic, it follows that more people would go to see my films. I have no wish to remain on the sidelines. I have no wish to make films that are only seen by bohemians in London and Paris.

In the hands of good writers, you have the opportunity to present both sides of an opinion equally and that you leave it to the audience to listen and then make up their own minds.

One doesn't go on television for the Manhattan crowd. You buy the sides of buses for that.

It's amazing how fast generations lose sight of other generations. One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.

Some musicians are a bit humourless about their art: they lose sight of the fact that as well as exercising their muse, they're there to entertain.

A lot of people get signed then don't really care what the people want anymore. They're just thinking 'How am I going to make that hit?'