Quotes About Audience

Whether they're paying for it or not is not really relevant. They're investing a significant amount of time in our content. At some point, commercial opportunities will materialise for greater percentages of that audience.

After I made 'Better Luck Tomorrow' and started taking meetings in Hollywood, I quickly learned that Asian Americans weren't even in the conversation as a minority, since there wasn't even a significant enough audience, and especially an audience for Asian American content.

I would like to believe that all the roles I have portrayed so far - no matter how significant or insignificant they are - have been appreciated by the audience.

I feel like sometimes, when I'm singing a song like 'Moment of Forever,' that it goes both to your significant other and to the audience, and was it wonderful for you, you know? I think the best love songs I've written work on that level, like 'Help Me Make It Through the Night.'

I've literally never seen a crowd react to a band the way they react to the Polysics. Signing them to MySpace Records was an obvious choice. I wanted to be the person to bring this seasoned band to a new culture and audience. I'm really proud of them.

There are some long silences in Scandinavian and some Japanese films, when the audience knows action is taking place, but the audience hears no action.

Comedy club audiences pay up to $25 per person and another fistful of cash to cover a two-drink minimum, so when they don't like something, they let you know - with silence.

It's always an interesting experience for a politician to be heard in silence, I have to say.

I believe with a lot of support shows, people are very much there to see the headliner. You don't necessarily have their full attention, and some of what we do requires a lot of silence.

There is nothing quite as loud as the silence of an audience when a comedian is on stage.

Our shows are just like that. The screaming is constant, nonstop, and there's not one minute of silence during the show. It's pretty intense.

I've always worked a lot with silence in my films. It forces the audience to concentrate on what they're seeing, because silence is pure emotions. It has no logic; it goes straight to the heart.

When you've got an audience, there's a silence in there that you don't find anywhere else. And it's really powerful. People are there listening with you and you're affecting them in some way.

Making people laugh is easy for me. I'm quite proud of that. But I'm prouder of silencing an audience for a minute because they're thinking about something.

In a silent film, you speak but the audience does not hear you.

I know miming means to act without words, but the audience isn t supposed to be silent as well!

I've always loved silent movies. I recently saw 'Tilly's Punctured Romance' at the Academy, which is the first comedy made with Charlie Chaplin in 1914, and I sat there, and I couldn't believe that the entire audience of 2,000 people were laughing that hard from a movie made in 1914 - and there were no words; it was all faces.

I always try to make popular films. Even in black-and-white and silent.

When it's silent or when that energy of the audience isn't there, you feel the bumps a little more. You feel yourself losing breath a little quicker.

I think it's harder to go from comedy to drama than from drama to comedy. Seeing you dramatic all the time, they crave to see you being silly or funny. But, seeing you in comedy all the time, it's hard to see that person go be serious, for some reason.

You can go from doing something quite silly to something dead serious in the blink of an eye, and if you're making those connections with your audience then they're going to go right along with it.

My turn on 'Letterman' turned out to be a blast. The audience were delightful, and they lapped up my silly Kiwi humour. Even the big man himself came over to shake my hand after my set.

People like light and silly, and they like stuff that's really energetic, and you get a character in a film bouncing around and screaming, people laugh. That's all it takes. I don't find that funny. To me, what's funny is dialogue and nuance of character and performance.

I was just very conscious that I could either bore people by having the music be similar for too long, or I could just wear them out and bore them in a different way by having it changing too much every minute or two minutes. So, there was that kind of balance to get right.