Quotes About Audience

Speaking Circles International, is the transformational speaking coach who worked with me. He underscored the importance of listening to your audience before, during, and after you speak in order to create nonverbal connections.

learned from him that the spark between audience and speaker is ignited as you give the audience your full attention. He also advised me that it's okay to feel your fear but remember that most people want you to succeed.

I take a few deep breaths before I begin to speak, and I listen to the sounds in the room—this gets me focused and really present with my audience.

There are wonderful things in real jazz, the talent for improvisation, the liveliness, the being at one with the audience.

The difference is slight, to the influence of an author, whether he is read by five hundred readers, or by five hundred thousand; if he can select the five hundred, he reaches the five hundred thousand.

He, moreover, did not, as Socrates did, transmit His teaching to informed and literate men, but spoke to a crowd of illiterate men

The first problem I had with conducting was coming out on stage and turning my back on the audience. It was an utterly foreign sensation. I always felt as if my rear end were hanging out. That particular portion of my anatomy suddenly seemed enormous, living a life of its own, engaged in its own relationship with the public behind my back. For the first couple of years I conducted, I sat on a chair in front of the orchestra, to help quell that particular discomfort.

Even the ancient mariner, with his wonderful tale, succeeded in stopping only one of three! No book is for everybody.

There can be no revival when Mr. Amen and Mr. Wet-Eyes are not found in the audience. —CHARLES G. FINNEY

I just want to keep doing what I'm doing and hopefully people will watch my movies.

She is aristocratic when she rides, jumping boldly over ditches and hedges, but who admires her? Certainly not her husband. He'd just despise her if she were cowardly. On the contrary: he reminds her to think of her children.    So she feels like an actor who is expected to act without an audience and ends up gnashing her teeth in rage and crying into her pillow during her sleepless nights.

The track at that time was not laid out with much regard for the audience. Superimposed on the existing runways of Oakes Field, the former airport of Nassau, and making the most possible use of the already paved surfaces, it meandered off into backwaters previously known only to aviators, with little regard for the perspective of the cash customers.

I understand why creative people like dark, but American audiences don't like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.

The ultimate sin of any performer is contempt for the audience.

What all this posturing and fake glamor results in is a vast detachment and cynicism on the part of the artists. Since it's impossible to have respect for an audience that'll take just about anything you care to dish out, and the impassive demeanor is so central to the role, a general numbnose is all that can be expected.

It's not enough just to do those things anymore; what you must do instead if you want success on any large scale is either figure out a way of getting yourself associated in the audience's mind with their pieties and their sense of 'community,' i.e. ram it home that you're one of THEM; or, alternately, deck and bake yourself into an image configuration so blatant or outrageous that you become a culture myth.

I'd say I'm the opposite of someone that has the urge to stand in front of strangers and make them laugh, but the idea of getting up and telling a story and people finding it amusing always appealed to me.

What's the shelf life of a 1931 movie? If it still exists, there will always be film buffs and a niche audience who will want to see it. But in terms of people even understanding in common usage, some of the words we use to describe these movies, I don't know how long that's going to last.

Every inch of my writing career has been influenced by my screenwriting education. I was lucky enough to go to film school at USC, and I got a crash course in how to tell a story efficiently. I learned structure, pace, my style, how to know your audience, and most importantly, how to take criticism and edits properly.

Movies are a voyeuristic experience. You have to make the audience feel like they are peeking through a keyhole. I think of myself as the audience. Then I use light, framing, and motion to create a focal point.

Reality TV has totally destroyed soap operas. They're gone. They used to be the biggest thing in the world - they're gone.

Genre labels are useful only insofar as they help you find an audience.

In any event, the proper question isn't what a journalist thinks is relevant but what his or her audience thinks is relevant. Denying people information they would find useful because you think they shouldn't find it useful is censorship, not journalism.

I love test screenings. Some directors don't, I know. But I love it. I think it's because I come from the theatre and in the theatre, previews are where you really have to listen to the audience and really feel how they're responding. I found our test screenings incredibly useful.