Quotes About Audiences

Richie' will show a very unique style of storytelling to the audiences.

Movies are a hobby for me. I think storytelling has reached a new level where younger audiences are looking at something more real and contextual.

I never really had any trouble selling my music to country audiences. They appreciate honest lyrics and straightforward melodies, and that's what I do.

I don't enjoy British shows as a rule because British audiences are strange.

London audiences are the most challenging around - it's a group of such diverse strangers.

Broadcasters are also selling a product-their audiences.

The audiences are really great. I really love it over there. I love Europe, period. Oh my God, all the architecture and all the history and just to the way people think and live is so different.

I have to expose myself and then accept the judgment that audiences and critics will have. And that's okay. I appreciate the elliptical nature of it. Sometimes people are more in the mood to be nice to me than others, and that's great.

I'm absolutely certain that audiences want to see older women on their TVs.

'Stree' is something fresh and new. Audiences want to see different kind of content on-screen, and 'Stree' is exactly that. It is a unique genre - horror-comedy - which has not been explored much in our country.

I have found that children are the most open-minded of all my audiences. They are not set in their ways. They are open to ideas.

I want my audiences to be as open-minded as my characters.

In the West, audiences think I am a stereotyped action star, or that I always play hitmen or killers. But in Hong Kong, I did a lot of comedy, many dramatic films, and most of all, romantic roles, lots of love stories. I was like a romance novel hero.

Though these all qualify as deceptions in Boswall's mind, they are not all necessarily bad. Boswall believes it's up to individual filmmakers to decide where to draw the line--but a warns that audiences might be surprised to know where filmmakers have been drawing it recently.

In day-to-day commerce, television is not so much interested in the business of communications as in the business of delivering audiences to advertisers. People are the merchandise, not the shows. The shows are merely the bait.

I have a complex feeling about genre. I love it, but I hate it at the same time. I have the urge to make audiences thrill with the excitement of a genre, but I also try to betray and destroy the expectations placed on that genre.

Technology is in fact one of the most exciting things that's happened to museums today - but one has to be careful about where one uses it. For instance, the Internet provides an incredible opportunity. It is a way for us to reach audiences around the world and further our educational mission.

Situation comedy on television has thrived for years on 'canned' laughter, grafted by gaglines by technicians using records of guffawing audiences that have been dead for years.

There's been a vacuum with movies that people can relate to. There's been a paucity of dramas that people can relate to. I think audiences are clamoring to connect - particularly after 9/11 - with things that are genuine and real and I think documentaries are filling that need.

I've certainly enjoyed doing clinic tours for larger audiences, but the most valuable teaching experience has been the hundreds of lessons that I've given where I can hear the students play.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

We're committed to giving the independent artists we support the best stage to share their mind-blowing work with audiences.

I've always had an idealistic streak about storytelling in that I believe we owe more to audiences than repeatedly bludgeoning them over the head while stealing their lunch money. We owe them inspiration. That's why I'm more interested now in creating new heroes than hooking up jumper cables to old ones.

I personally love working for finite series as it's important to convey that stories need not be stretched; they can get over in a year and still be loved by audiences.