Quotes About Audience

These things I sample, or clip, are things that we share - music, films, sounds. It triggers a layer of participation from the audience as they recognize the material and remember it.

I never plan my speech. Very often the audience triggers me into the mood.

I got to learn from the American audience. Hearing what it is they're not getting. These are audiences, 35 to 40, an older demographic that controls seven to 10 trillion dollars. And the producers and distributors have convinced themselves this group doesn't go to the movies.

I will say there is only one caveat as far as 'Logan' goes: I got to the end and went, 'OK, what happens next?' To me, as an audience member, damn. If you can get to the end of the third act of a trilogy and your reaction is 'what the hell happens next,' someone did their job incredibly.

With the 'Old Kingdom' trilogy, at least half the readers were older adults rather than younger adults. I wrote them for myself with no particular audience in mind.

Touring with Blink helped introduce people to Alkaline Trio who otherwise wouldn't have ever heard of us.

Everybody goes through a lot of the same things, and I talk about those, and that's the key. You have to connect with your audience, and I might take them on a trip with me, tell them I went here and I went there and they'll go with me, you know, to hear the stories.

Working in TV, we're in people's living rooms, and everyone has a different relationship to it than with movies. You're there every week; they feel like they know you. They call you by name, and it trips you up.

I kind of thought that stand-up comedy would suffer from the Internet because people seem to know more about the craft of stand-up than ever before. I thought it would seem trite. Kind of like if you know more about magicians, you wouldn't love them.

If misery loves company, then triumph demands an audience.

In all my years of performing, no audience member has ever actually assaulted me. I consider this to be the singular triumph of my performing career.

Even if there are people around to help you, you don't suffer with an audience; you don't triumph with an audience.

Every time I talk about this, I say: when the singer is singing, he must be respected, you must be able to hear what he's saying. You can't put a trombone and a drum up there, and a microphone on the drum, microphones on everybody. You can't hear what he's saying.

Awards are not the only markers of success; I don't judge myself just based on them. I believe that each cinema-goer has his own mental trophies.

Lifting a major trophy in front of an empty stadium would be a very strange feeling. But then you'd rather do that than not play at all.

I kept thinking that the audience had gone to so much trouble, working their schedules to be there. They had arranged for babysitters and even traveled in from out of town. Oh, how could I not be there for them?

I think a lot of composers get into trouble just making up a plot and expecting an audience to follow that.

One of the nice things about the Internet is you can do a comic that's just for Ph.D. students, or for truck drivers, and you get to reach all of them without having to satisfy the other 99%.

And the most important thing - apart from telling a good, believable story, and being a true character - is to be someone the audience will care about, even if you're playing a murderer or rapist.

They say 6 million people see you when you act in a film; it may only be 600 in a play. But the effect on the 600 may be truer and more lasting.

The cliche was always that 'everybody's a critic,' but it becomes truer every day. Long before reviews appear in the traditional outlets, you can now usually discover - somewhere in the thickets of the Internet - reactions to shows from people who've seen them in previews.

I take it extremely seriously to do absolutely the best work possible and the truest work possible, because I feel like that is what's going to resonate not only for myself but hopefully for an audience.

If you are working in a publicly subsidized building, then you have a responsibility to deliver truly interesting, risky, innovative, even provocative work. Work that speaks to your audience in many resonant ways. The priority is less about the financial rewards.

From the stage, I can reach a large audience, and you learn from being on stage how much a song reaches, what extent of the crowd a song can reach. I write in a way that can reach most of the audience, but I also wanted to have truly intimate moments as well, many intimate moments, more so than the big moments.