Quotes About Audience

I'm sorry, but to ask an audience these days to invest three hours in a show requires your heroine be an understandable and fully rounded character.

'Guardian Australia' will connect our Australian audience to our global community and give readers around the world a better understanding of this very significant nation.

The most important thing when you do a movie is that you find an audience that really understands what you want to do and is really supportive of it.

It's very easy for me to say what success is. I think success is connecting with an audience who understands you and having a dialogue with them. I think success is continuing to push yourself forward creatively and not sort of becoming a caricature of yourself.

Not everybody likes or understands a drum solo, so I like to bring in effects and sounds to keep their interest.

With these scripts and these writers, so much of it is done for me. Because we don't just throw words around: we make sure the audience understands.

I am an artist, and I have a lot more to offer than just being a one-dimensional character, and I think our audience sees that and understands that - they're behind it.

You could argue we are a different audience today,but on the other hand what is it that makes Shakespeare great? It is that he understands the common denominator of man, his emotions and relationships.

I never understood why anyone would do magazines. Like, why would someone put their face out there so much? It's because those people reading magazines will go see the movie, so you do it.

You want to be understood by the sophisticated few but you also have to be more loud somehow, otherwise your message doesn't go through.

When we started on 'BoJack,' it was understood that the Netflix model was to give shows time to find an audience, and to build that audience, and I remember being told, 'We expect the biggest day 'BoJack' Season 1 is going to have is when we launch 'BoJack' Season 2.'

The jazz rhythm won't be understood by the bulk of my audience. That's the problem. We can get away with maybe one tune a night. It depends on where we place it. A song like 'Beyond the Sea,' the fans love that. It's fresh.

I had underwear thrown on stage that said 'Gokey' on the back... all glittery! It was grandma-underwear, too.

Everybody asks me what it was like to be in my underwear for my network television debut.

Look at 'Avatar:' the foreign ticket sales were over twice the domestic returns. The mind boggles at those kinds of numbers, but that's what you get when you effectively reach out to a global audience. If that kind of thing came to comics, it would undoubtedly change how people perceive the mainstream industry.

As for what attracts me to 'Rising Star,' it's undoubtedly the live format.

When I'm gigging, there's an uneasy shift when I pull a puppet out. People look at me aghast and I feel I have about 20 seconds to win them over. You even get the prejudice among other people in your own profession.

Embrace risk. The driving force behind our economic model at Illumination Mac Guff is designed to preserve the opportunity to take risk. Subvert the expectation of the audience. Surprise them with unexpected choices.

It strengthens the acting muscles to tap into other parts of yourself. When you can accomplish something that's unexpected, for you as well as the audience, that's really important. It's also very important if you want people considering you for other projects to broaden their view of you.

As a writer, I try to appeal to the 'elusive boy audience' the same way I try to appeal to everyone: I do the very best I can to create interesting characters, addictive plots, tons of conflict, believable settings, unexpected plot twists, intriguing beginnings, and satisfying endings.

The commercial I did for Kia was hilarious and unexpected, so that, I think, is also another way of signaling to the audience that there's more to me than Morpheus.

So much of our audience is on mobile and online platforms, but there's something special, unique, and unexpected about engaging with such great content at the street level.

At Warby Parker, we ask ourselves a number of questions when deciding whether or not to partner up with a designer, or a nonprofit or brand. Is the potential collaboration new? Is it unexpected? Will it result in something worth talking about over dinner? Will it do good? Will it introduce us to a new audience?

I never look at twists as a way to trick the audience. Obviously, I think a good story has surprises and unexpected turns, and you always want to do that with an audience. But it has nothing to do with conning them or making them believe so strongly in one thing and then kind of going the other way.