Quotes About Audience

When you're trying to do a traditional book musical like 'Book of Mormon,' it's always nice to have characters that could very naturally break into song, and its good to pick a subject matter that allows that to happen in a way that doesn't disarm the audience.

Comedy isn't subjective like music. You either get the laughs or you don't.

Comedy's so subjective, and if someone comes to watch, doesn't get it, doesn't find it funny, then fine.

The great thing about wrestling is that it's very subjective. They'll let you know what they like and don't like.

I know I can be great. I don't really worry about that word 'star' too much though, 'cause I feel like that's very subjective to the audience. But I know I can be great. I have the will, the want-to. I feel like God has blessed me with the physicals, I feel like for me it's all mental.

I want to prove that if you write in strict meter and rhyme about subjects people care about, they will buy poetry.

In the past, I think my films that focused on African subjects struggled in the marketplace because of their subject matter.

Films like 'Satya,' 'Company' needed a pan-Indian audience. The affinity for Hindi film and subjects was there.

I don't think, there's no possible way for me, anyway, to play a character that I haven't found some sort of sublime compassion for and I related to Deborah on a way that almost, initially, almost in a way maybe someone in the audience might.

People read me but they don't subscribe.

I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.

The music is the emotional substance of the show; the book just sets it up. Nobody goes to a musical to hear the book. That's the way it works.

With a gimmick, there isn't much substance. If you play to the crowd too much, it can go bad.

You can window-dress and promote a movie as much as you like but if the movie hasn't got substance and isn't an exciting movie, people won't watch it.

If you have an opportunity to reach people on a broad scale, it's not enough to just entertain people. You have to take responsibility. You has to do something substantial. Otherwise you're squandering what you have.

I don't sing to people. I sing for them. I told that once to Elvis Presley. He bought it. After that Elvis sang not to but for the audience. A subtle difference.

If we make films only for the frontbenchers, we can't make money. Hence, we have to make it for a majority audience. As my films are mass films, I deal with emotions in raw form - they are not subtle. I don't mind being branded. That does not mean I like only those kinds of films.

Tracking action without cutting is the least jarring method of placing the audience into a real-time experience where they are the ones making the subtle choices of where and when to look.

In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.

These are very subtle things, of course, and I don't expect everyone to pick them up consciously, but I think that there is something there that you must be able to feel, there is an energy at work that I must trust my audience will be able to pick up at some level.

I always find it easier to portray myself as being unlikeable and idiotic; to actually play a character that is likeable and engages the audience is far more difficult. It's a more subtle kind of challenge.

As a member of the audience I don't like it that I can't see what's going on in the eyes and in the face and in the most subtle responses of a performer when I'm more than a few rows back. I find it very frustrating.

Don't be too clever for an audience. Make it obvious. Make the subtleties obvious also.

You can't instruct an audience to laugh, but what you can do is read well and understand the spirit and subtleties, if there are any, in the dialogue.