Quotes About Audience

I never forget that a book is not an end in itself. Just like a newspaper or a magazine, a book is a means of communication, which is why I try to grab the reader by the throat and not let go to the end. I don't always succeed, of course; readers tend to be elusive. Who is my reader?

You simply couldn't make a living as an author if New Zealand was your only market.

I have a memory of this experience when I was young, watching 'Stop Making Sense,' the Talking Heads concert movie, which is one of the best concert movies ever, and I saw it in a full house in New Zealand, and everyone was cheering between songs, and you really felt like you were part of the audience at the gig.

I played to the biggest audience I've ever played to in my life in New Zealand. I couldn't see the end of the crowd. I understand it was over 200,000 people in a park somewhere.

I once spoke to 9,000 people, but they managed to fit them all into a structure that resembled a Zeppelin hangar, so it was a contained space in which whatever laughter I generated could ricochet and hang around for a bit, encouraging others to join in.

Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.

I don't care how much hardware you throw at an audience. If they are not emotionally invested in the thing, it's zero. I can name a slew of films, but I have no ax to grind. I understand the commerce of Hollywood probably better than anyone.

Sometimes you really rely on the audience to have a good time playing live, and sometimes you could have zero people or a thousand, and you'd feel exactly the same.

The first time I ever saw a black audience at our concert, we were in Zimbabwe.

The young people look great on television. They're youthful and have a lot of zip and energy, but when you see them live, they can only do about 20 minutes because they haven't got the training to hold an audience for an hour and a half or so.

There's something about the energy and the expectations that an audience projects at you. I get up on stage and work and work, and there's chaos all around me, then I'll shut my eyes, and boom! I slot into the zone. It's like the eye of the hurricane. Everything is easy, and I'm capable of doing things I didn't know I was.

You can't be in the zone in front of 12 million people, you've got to be chill.

Until I started performing in public, when at the end of the concert people would come to me with teary eyes and say that my performance took them to a trance zone, I had no idea that I can create an impact with my singing.

When it's a moral grey zone, the audience has to think about what they feel and what they think is right or wrong. You want to affect your audience and make them think.

There is no safe zone now: whether it's commercial or experimental films, the audience wants content. Otherwise, they reject the film.

We played ten packed-out shows at the Kremlin in just seven days and only discovered later that everyone in the crowd for the first three nights was a politician. They had all come from the nine Soviet time zones just to see us.

Comedians are the monkeys of acting. When you go to the zoo, everybody loves the monkey exhibit.

The thing that I don't like is the selfie when people turn their back to the stage. I'm playing my heart out, I put everything that I have into my performance. If someone turns their back to me like a zoo animal... that drives me absolutely bananas.

In music, the punctuation is absolutely strict, the bars and the rests are absolutely defined. But our punctuation cannot be quite strict because we have to relate it to the audience. In other words, we are continually changing the score.

The best audience is intelligent, well-educated, and a little drunk.

The play was a great success, but the audience was a disaster.

When the audience knows you know better, it's satire, but when they think you can't do any better, it's corn.

You need three things in the theatre - the play, the actors and the audience and each must give something.

If you give audiences a chance they'll do half your acting for you.