Quotes About Audience

I think - no, I'm sure - 'Coast to Coast' wouldn't work with a daytime audience.

Action alone doesnt work in Germany - you need an emotional element to the story.

When you're going for a joke, you're stuck out there if it doesn't work. There's nowhere to go. You've done the drum role and the cymbal clash and you're out on the end of the plank.

Hanging out with politicians and corporations is very unhip work. But I think that the U2 audience have turned out to be incredibly subtle in their understanding.

The movies have a way of seeping out there over time. We don't put them in 2,000 theaters. It wouldn't work that way.

Do you need an audience to create work, or does not having an audience liberate you and make you a truer artist?

I'm glad that I'm able to entertain and be a part of people watching shows and enjoying the work.

It's a mistake to ask a work of art to be all things to all people.

We just had to stay out-of-the-way [in Fences]. [August Wilson] already wrote a masterpiece. And you really don't know how it's going to work until you get it in front of an audience.

That's an amazing gift as an actor - to be able to say I have an audience in so many countries in the world and that people know my work.

To see that people appreciate the work that I put in to make these songs for them, that's what makes me care. I don't care about being Fetty Wap.

I'm glad I took that time to work really hard on the music. I feel the effects of that now in a positive way with my connection with the audience.

The relationship between the audience and the dancers goes through many different stages. Someone seeing my work for the first time may or may not pick up on that.

I think a mistake a lot of people make is to identify a target audience and then work backwards into creating a product for them.

So much easier to aim for the smallest possible audience, not the largest, to build long-term value among a trusted, delighted tribe, to create work that matters and stands the test of time.

[The writer] wants both to do the best possible work and also to reach the largest possible audience. The result is a fairly normal condition of discouragement.

A sitcom is the closest thing for me to doing stage because you work in front of an audience, and if it's well written it can be very satisfying.

If you became a comedian in the '80s, you had to work the circuit and make people laugh. Canned laughter is cheating.

Art has a smaller audience than, say, movies or other forms of mass consumption. But that doesn't mean the work doesn't have an impact in a way that transcends just a few cultural arbiters.

As an actor to watch an audience of people howl together in a single mind as a result of work you've done together with friends is a privilege.

I'm sure the audience could see me trembling. I want to do more live work; my next goal is to shake the fear.

You have to work years in hit shows to make people sick and tired of you, but you can accomplish this in a few weeks on television.

I've always felt England was a great place for a comic to work. It's an island and the audience can't run very far.

I've always thought of, of a relationship with an actor to an audience as a marriage, you know. And a story, you know. And there are ups and downs, and you work through them, and you work with them.