Quotes About Audience

There is an inalienable law. Whenever a character on screen pities himself, the audience stops pitying him. They will cry so long as the character doesn't.

For me, the driving force is the audience, and the day that stops, I will stop doing films. The day a part of me stops feeling like putting a smile on someone else's face or if I feel like I don't want to entertain anymore, then I will pack up and leave.

A television serial should end when the story stops entertaining the audience.

In the olden days films used to become huge hits because of family audiences. But nowadays certain films cater to youth audience and once that is exploited then the film stops. and some films are for a mature audience. My aim is to satisfy all the sections of the audiences.

I'm not one of those kind of people who does the observational 'Hey, don't you hate it when you're at the grocery store and the line's long and the cash register starts taking too long.' I don't really do that kind of stuff. I'm heavy on persona, and I do a lot of interacting with the audience.

We've already learned a lot about the production process, and we can't wait for our audience to see what we have in store next.

I think of my books as mainstream and that's were most people who read them look for them in book stores.

I think the mainstream gaming industry has a very narrow focus on the young male audience. There are plenty of other people out there who enjoy playing games, but if you walk into most game stores, there's nothing on the shelf for them. I mean, imagine if you could only buy cheeseburgers and nothing but cheeseburgers in every restaurant?

I'm grateful for being able to explore different avenues of my writing, whether it be music or stories, and it have an audience.

I can't imagine soaps will ever stop, because people will always watch as long as they have great stories and characters. But the soaps will have to keep evolving, won't they?

I've been alienating my public since I was 20 years old. When 'American Buffalo' came out on Broadway, people would storm out and say, 'How dare he use that kind of language!' Of course I'm alienating the public! That's what they pay me for.

We had an extreme reaction to Storm Corrosion. We were proud of it, but it divided the audience. The metal fans were divided. Some went with it. Some hated it, since it wasn't the progressive metal supergroup they were waiting for.

I'm a huge believer in story being this invisible scaffolding that no one ever recognizes or realizes is actually making the audience engaged in what's going on. There is no formula for it.

'Marley and Me' was a book I was proud of and believed in, but I thought it would just have a modest audience because it is such a personal story about my marriage and my family.

I don't care how good a song is - if it holds back the storyline, stalls the plot, your audience will reject it.

Anyone can write an academic piece directed at other academics. To write something that delivers an argument and a gripping storyline to someone's granny or eight-year-old takes the highest quality of your powers.

When you hear complaints about pro wrestling, it's that there is too much soap opera, too much storyline.

As a storyteller, I've always been fascinated with the idea of recreating this notion of choices in fiction. My dream was to put the audience in the shoes of the main protagonists, let them make their own decisions, and by doing so, let them tell their own stories.

When you make work, your goal might not be first and foremost to have as many people as possible see it, but it might be more about honing your craft as a storyteller or making art, but, there's no doubt about it, you want lots of people to see it.

I have never forgotten the almost mystical power over an audience a storyteller has, when the story is deep and links you.

Perhaps storytellers don't need to care as much about the future as executives and investors do. After all, isn't it possible that technology will enable storytellers to connect directly to their audience without the need for anyone to share the programming decisions or the profit in between? Don't bet on it.

Comedy and horror are cousins; they're related. They both come from storytellers who want to specifically affect the audience and elicit specific reactions during the movie.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

And meanwhile, the storytellers like me and Anderson, Silverberg... we tell stories. People like them. They want to know how it comes out, they want to know what the ending is.