Quotes About Audience

I've definitely seen people get angry or really uncomfortable with stuff I've made in the past. And my stand-up, if you could call what I do stand-up, is quite aggressive, too.

To sit in my concert and be uncomfortable is brave. Because you could always leave, you know?

I hate to sound like someone twice my age talking about these comics today and all that, but it's as though their intent or goal on stage seems to be to see how uncomfortable they can make the audience, or how viciously they can savage their subjects.

To me, radio is about making you uncomfortable. Television is about making you comfortable: Who do you like? Who do you want to be friends with? So I don't need to tower over people in television.

I still can't believe that I was accepted by Telugu audiences because I don't know Telugu. Without knowing me, the Telugu people gave me their unconditional love.

We should never overestimate an audience's culture, but we should never underestimate their intelligence.

Never underestimate the intelligence of the audience; make good programmes, and they will come.

Never underestimate the effect you can have on certain sections of the audience, though. You should see some of the letters I get.

You mustn't underestimate an audience's intelligence.

People underestimate the hip-hop audience and the capacity to understand politics when it's part of music.

It's too easy to underestimate your audience. But it's not rocket science: bad plays don't get people on seats; good plays do.

I think there has been this increasing misperception that kids will not respond to something because it's also for adults. I think that often that tends to get underestimated.

Commercial television has underestimated the intelligence of the public.

I really underestimated how many people are paying attention to 'Jeopardy' and what's out there.

I'd never bought the idea that you don't lose money by underestimating the intelligence of the audience. Although perhaps I should add that I've never really made that much money.

Both me and Edgar are firm believers in never underestimating or talking down to an audience, and giving an audience something to do, to give them something which is entirely up to them to enter into the film and find these hidden things and whatever.

I went back to DJ'ing in 1987, and it's been an incredible second career for me. Plus, it's almost a parallel universe. If you don't go to underground clubs, you wouldn't know what I do or who I am. So there's been a whole new audience of people that don't even know I'm that 'Boy George', the one their mother used to like.

We'll continue to see more and more brands integrate social causes, charitable components and environmental issues as underlying themes to their campaigns and messaging. Humans connect with humans after all, and brands are using this as a point of connection to engage with their audience, especially charity-minded Generation Y.

Music is just sound - what's more important to me is behavior. I'm watching these play-offs - basketball - it's interesting to watch behavior, underneath all the movements and everything like that. They go into the audience and show some of the parents of the players and all that.

It was tough doing 'Underneath the Lintel' in New Jersey in the wintertime, but rewarding. Those audiences were lively and interactive. On-stage was great, but off-stage was difficult.

Frankly, I find it very odd that, in a population that's more than 50 per cent of women, that Hollywood isn't producing more movies to cater to that audience. The demographic is being grossly underserved, in my opinion.

'Power' would never have gotten on the air if the folks at Starz weren't saying to themselves, 'This is an underserved audience.' It was a financial decision, not a benevolent decision based on a need to change the industry.

In order to appreciate a great man, we must know his surroundings. We must understand the scope of the drama in which he played - the part he acted - and we must also know his audience.

I love mythology and folklore, and I respect the time, money, and opportunity that a film gives to an audience. It's a chance to empathize, reflect, and learn, so I really want to understand before I sign onto a project: 'What's the potential of this thing? What are we seeing and learning? What are we empathizing to?'