Quotes About Audience

You can't plan for people to like your movies. I knew that people were not going to run in droves to the theater for the 'In the Valley of Elah.' I knew they might not want to see it, but I still had to the movie; I felt very strongly about it. Wanting to keep telling a good story is what you want to do, a compelling story.

As a producer, what you want to do is make the next hit. But you also want to lead the audience into wanting to watch different movies. You have to vary your content.

I think working for the audience, for me, is the most fun. It's really a chance for something to work towards. It's where everything kind of comes together, and you have to make it work. You have all these people who are sitting there, wanting to have a good time and wanting to laugh. You really have no choice but to pull it out.

A lot of games that preceded 'Warcraft' made the assumption that this type of game wouldn't appeal outside the hard-core audience, so that's what they targeted. We thought this type of game could appeal to more people if we made it easier to use.

If I walk out onstage and I get a warm, excited response, it makes me feel so confident and happy, and then it's so easy for me up there.

Who is interested in that? Who is interested in the warm and fuzzy? There's enough warm and fuzzy on television.

I always try to have a positive and warm intention that is not about me. It is easy to make everything about yourself. But you take the weight off when we make it about the audience. It's about the joy you can bring to somebody else instead of the joy that you get from doing it.

When you look at the 'Roseannes' and the 'Will and Graces' - when those reboots or sequels or whatever you want to call them are well-executed and have a fresh angle that's relevant, it's a big, warm comfort hug to the audience.

I was a warm-up DJ for many years so I know how to build a crowd, what record goes with the next, it's all about understanding the dance floor and how the energy and flow should go coordinating to what the crowd want or might need.

When I've been on shows as a guest, I'm backstage, so I don't usually hear what the warm-up is saying, so I went and watched a couple of people do it and thought, 'Actually, I reckon this is do-able.' The audience is usually excited to be there; it's just getting a good chat with people.

The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.

There are some who speak well and write badly. For the place and the audience warm them, and draw from their minds more than they think of without that warmth.

You don't service a big, fun premise comedy and then shoot yourself in the foot with too much irony. You need the audience to invest in the fun and the warmth and generally care about the characters.

Once you've experienced the warmth of an audience, the achievement of getting your first laugh, and entertaining them, singing or playing piano, it just keeps it all going.

When you return to the same area a few times, you get that frequent rapport with the public and the fans of the music along with having a certain warmth when you walk onstage.

It's nice to be in a smaller room. I like the big arenas as well, but at my core, I'm a live performer, so it's nice to be able to feel the warmth of everybody in the room.

I pledged California to a Northern Republic and to a flag that should have no treacherous threads of cotton in its warp, and the audience came down in thunder.

Adult fantasy gets a bad name. You think of Xena - Warrior Princess. If you don't do it expensively, it becomes tacky and you end up just appealing to 45-year-old single men.

I mean, all the ratings wars are silly. But, I mean, someone has to be concerned about the ratings because it means, you know, it translates into revenue.

With the Monday Night Wars, it was almost a pay-per-view every single Monday between the two factions because they were trying to throw everything but the kitchen sink to win the ratings war.

I am wary of sequels. I understand them from the studio's point of view, but the audience doesn't want more, they want better, and I thought the second 'Ghostbusters' was not very effective, it did not really work, so there's no reason to believe a third would. I'm more interested in new things.

If I go onstage, I want to give people everything they want and more. I'll wash their car for them on their way out.

'The State Within' demands a certain intelligence from its audience. It doesn't just wash over you - it asks for commitment. And that's a really good thing.

There's nothing that makes an artist more beloved than the audience pitying him because his work comes at a price they would never pay.