Quotes About Audience

A lot of the fear about being a first-time director is just starting with a completely blank slate and thinking: 'Is this going to connect with anybody?'

I'd rather play in front of people who wouldn't listen to Slayer. That to me, is more like, 'Hey, listen to us.'

I hate a sleepy, nonresponsive, and silent audience because it fails to excite me as a performer.

When people go to the theater, people say they want something different, but what they really want is something the same with slight permutations. To really not know what is going to happen next is a hard thing.

I have the ability to sing with emotion and feeling, but if you say I sound like Billie Holiday, that's cool. Let's look at who Billie was: she was this person, this singer, this beautiful diva who could move the audience with the slightest gesture of her hand.

The thing about having a very young audience in the theatre is that sometimes they laugh at the bullying scenes. It's really interesting, what that means. It still confuses me slightly, you know; someone's getting quite brutally bullied on stage and people are laughing. I think it's very hard being young.

For a human audience, seeing things that are slightly more otherworldly and beyond human power is always really fun and exciting to watch.

All audiences should be slightly off balance.

7th Heaven is quite a hit for them now, and they are hoping to appeal to a very similar audience with our show; skewed slightly older I guess, since it's a 9:00 to 10:00 show.

I don't mind playing somebody who's not likable, or makes the audience feel slightly conflicted.

When you're first reading the script and thinking about playing the part, it's slightly daunting. It's easy to question, 'Is an audience going to like me? And is that my job?'

Of course, Malayalam has a slightly different way of working because here at least if the movie is good, it gets some mileage by word of mouth even if you don't have big heroes.

I booked time in Philly Sound, which is an old church in south Philly that has a studio to the side of it that holds about 350 people. On the radio, we announced a free gig, bought about three kegs of beer. That got the audience slightly off of their legs, and we rocked the house.

For me, a show's a show. I try to put on the best show I can for whatever audience or time slot I get.

I don't mind a crowd's not laughing; it's the groans that slow down the show.

I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling.

I do the same gig. I might change it a little; I might slow it down if I'm in the South. I talk fast, and they're not used to people talking that fast.

The hope in radio is to build an audience over a number of years, a slow build to see if something works.

I think it's more interesting to throw people into a story and let them catch up instead of explaining and feeling like you have to slow down for them. I think audiences, for the most part, they don't want to be ahead of you.

With 'Girls,' Marnie was a slow burn; she shifted over time. With 'Get Out,' I was suddenly faced with the pressure that, like, I need an audience to know Rose deeply within 15 minutes, within a couple scenes. And that's not something I've ever done before.

For my shows, I don't play too many slow songs.

There is an audience out there for literate films - slower, more observant, more human films, and they deserve to be made.

Slower television actually credits the audience with a higher level of intelligence.

For instance, 'The Sixth Sense' had mediocre to bad reviews. Slowly, the audience pushed it and it received critical attention.