Audience Quotes

A lot of actors find it impossible not to ask for the audience's sympathy. They have a need to twinkle.

As an audience member, I like the sound of something that's been written - I like it to sound written. And then, of course, you can't do it without the musicians who can play it.

There's that process of writing it - then you come out of your room into the sunlight, and you now have to complete the circuit and make the connection finally with the audience.

I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.

You can't control the audience. When you're on the air and they're not coming to the party, it's time to shut down the party.

I think if you create something and you get an audience for it, then the monetization part is really secondary.

Acting is a business and a political act and a craft, but I also feel like it's a service - specifically, for a military audience.

Most of what's tricky about comedy is the perception of it and the audience's expectation.

As far as how much you listen to the audience, you listen to them when they really hate something.

Any show that's bringing in a young audience is doing a good thing, because that's the only way that theater will continue to grow. All the other audience members are going to be dead soon!

I will never lose anything that an audience will miss.I turned things that were scripted as effects into in-camera stuff, which is sexier.

In some ways, what I learned is that you can take a character and breathe with them, and its up to the audience to interpret rather than you putting moral stamp on the character.

The only way you can influence your fate is to put your soul into your performance and hope it registers with the audience.

As an actor, you really want to resonate with your audience. I played a character on Oz and people still approach me in the streets today.

I'm getting to a point in my life where my whole attitude about the relationship between myself and the audience is totally different.

I wanted it to be as readable as possible. I had the ambition of reaching a broader audience.

Anything you ever make that matters takes a long time. Some artists never see their work in front of an audience, so for them 15 years is a blink of an eye. I am nothing but grateful.

It looks better when you do your own stunts, because seeing somebody's face when they're doing them is fun for the audience.

People like my films. They understand me through my films; it's like a connection that has been established between all my work and myself and the audience and the viewer.

I love it when I come across a word I don't know. And I would never treat my audience like they weren't smart enough to come along with me.

One thing we do really well on Archer and one thing I've always tried to do in my comedy and my writing and my podcast is to never speak down to my audience.

I'm just going to be the best version of me that I could possibly be and be as funny as I possibly can. I've just got to be myself and hopefully people will find me. And my audience did find me.

I would love to work in international movies just because the talent all around the world is great. There's a lot of good talent and the audience base is bigger.

It's hard for a liberal to go on between Sean Hannity and Rush Limbaugh, because it's like doing country music after hip-hop. I mean, just, the audience doesn't go from one to the other.

Like an audience entertained by a magician, we allow ourselves to be deceived by those with a stake in persuading us to ignore reality.

The opening-night audience is mostly friends of the cast and backers of the show, and they cometo applaud their money.

I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.

[Salomaybe] is my presentation, my vision of the world. Not so much to satisfy the audience at large.

When I go to my live shows it's often a multigenerational audience, a family bonding experience.

How can you get bored if the audience is cheering and laughing at something you're doing?

I don't think it does the audience any good to know what I do to prepare. It keeps it more of a surprise. I don't feel like it has to be a mystery.

Plays by Alan Ayckbourn have been attracting larger audiences in the regional theatres than those of Shakespeare.

I expect that my readers have been to Europe, I expect them to have some feeling for a foreign language, I expect them to have read books - there are a lot of people like that! That's my audience.

You try to find things that are challenging and interesting and hopefully it will be the same to the audience.

If you're going to act and do this for a living, you want to play something that the audience didn't expect.

I am so much of a mind now to be in the audience, to watch and to experience, and to feel, rather than having to get up and perform, I want my life to be less about performing.

Audiences respond in entirely different ways. One thing is unanimous - music binds us altogether.

Sometimes I'm really communicating with the audience and I'm hyper-engaged. Other times my eyes are closed and I just let it be what it is.

I try to think about me, as an audience member, and it [inspiration for movies] comes from there.

When you're making the record, you're not thinking about an audience, but you still need them and you want them.

To stop for years and then discover that the audience is getting smaller and smaller would be demoralizing.

There's another thing that you don't want to take for granted, and that's the reality of there being an audience there each night. It's pretty amazing that that can happen around the world.

For me, the audience is the most important thing in the whole chain, so finding out how they respond to things is a learning curve at all times.

I actually love pressure. I loved playing sport at school in front of a crowd; I love being on stage in front of a big audience. I buzz off that.

A man really writes for an audience of about ten persons. Of course if others like it, that is clear gain. But if those ten are satisfied, he is content.

I appreciate an audience that reacts to the music, even if they jump on stage and try to beat us up, I think that's a fantastic reaction. I think that they're really hearing something then.

Writers want recognition, audience, some corroboration that all those hours at the desk and in daydreams add up to something in the esteem of others.

Obviously the Internet has become something of a leveler; it was once a luxury to be able to reach a mass audience, and now anybody can do it, to some extent.

Stage performance is obviously a much grander sort of depiction. The audience isn't right in your face as close as a camera lens gets.

To me, the real thrill is in making the music, and then I just trust it to find its own audience, and at times it's big and at times it's small, but that's beyond my control.