Quotes About Audience

When bands are on stage and they ask the crowd, "Are you having a good time?" what they're really saying is, "I just want a bit of reassurance - is everything all right?"

You don't paint pictures to put them in your attic. You want people to look at them.

If you've never been to one of my concerts. I want you to know that it is OK to scream and yell.

You make a movie that is about what you want it to be about and let people have their reaction to it.

Your idealism will get you killed or, worse, knighted, and you'll spend the rest of your days among fools and MPs. As for me, the chance to refuse an audience with the queen would be exquisite.

Everyone in the place seen me nut him apart from the ref, it caught him on the blind side. I tried to nut him on the eyebrow so it would split open, but I got him on the forehead. The crowd turned right against me, but I made it to the last bell and lost on a unanimous decision.

I'm officially near-famous. If you've got four year old kids and you've got cable, then you've got no choice but to know who I am. But if you're one of my peers - a 26-year old guy who lives in Manhattan - you have no idea who I am. I'm only famous if you're four.

If you are a great dramatic actor then you often don't know if people are enjoying your stuff at all because they are sitting there in silence. But with comedy it's a simple premise. If it's funny, people laugh. If it's not, they don't.

But with comedy it's a simple premise. If it's funny, people laugh. If it's not, they don't.

Comedians walk out, get a feel for the crowd. If it's not going good, we change directions. If we got to drag your momma into this thing, we will. Whatever we got to do.

When you're young, you look at television and think, there's a conspiracy. The networks have conspired to dumb us down. But when you get a little older, you realize that's not true. The networks are in business to give people exactly what they want.

Without a mission and a sense of whom you write for, you aren't worth reading.

I think I started doing that when I was about seven, grabbing my crotch. It's great fun. You get to grab your dick in front of 20,000 people and they all scream.' At the time Gahan insisted that he had a clear perspective on his role as a tongue-flapping, genitalia-clutching aphrodisiac.

No matter how many times people say it - 'Oh, I'm just writing this for myself' 'Oh, I'm just doing this for myself' - nobody's doing it for themselves! You're doing it for an audience. So whether I'm performing or writing a book or playing music, it's definitely to be put out there and to be received in some way, definitely.

It's important to remember that the verses in the Old Testament were addressed to the people of that covenant, and not to you.

As if the only genuine gestures were the small ones, the ones devoid of an audience. As if true honesty belonged to solitude, since to be witnessed was to perform, and performance was inherently false since it invited expectation.

When I walk out on stage, I don't know who's in the audience. To me, in my little fat skull, the laugh is just the widest demographic you can get.

We should concede that a club like Leeds that is watched by 500,00 to 600,000 people live on Sky, getting from the league only £2m to 2.5m and are actually penalised because we are more than 20 times on TV.

That stupid postmodern emphasis on image over content has slammed us right into a dramaturgy that willfully leaves the audience behind and then resents the fact that they don't 'get it.'

We did 'Friends Like These' on BBC and 'Slap Bang' on ITV which didn't work as well.

You can lull the paying customers as long as they get slapped.

I don't personally like slasher movies that make you scream in the movie theater.

In Europe, there is no horror movie. It's very hard to make a slasher or gory movie. There is no audience for that.

What you don't want is for violence and gore to become more important than character and structure. A lot of slasher movies from the eighties were only focused on violence and gore, which robs the human beings in the story of any empathetic reaction from the audience, and instead makes them cheer for the gore.