Quotes of All Topics . Occasions . Authors
Most horror films are made very cynically, and they're usually made by studios for an audience that they know is there, no matter what they put out. And there are always exceptions - every year, it seems we have a great one coming out.
When you're watching a show like this or watching a movie, sometimes when you have big music in a scene, it tends to push the viewer out of the scene and makes someone feel like an audience member rather than like they're in the scene.
I open with a clock striking, to beget an awful attention in the audience - it also marks the time, which is four o clock in the morning, and saves a description of the rising sun, and a great deal about gilding the eastern hemisphere.
It's pretty inappropriate of fans to think they can expect any kind of narrative from showrunners or writers or actors. I just don't think that's the way you should engage with material that you're watching as a passive audience member.
I do believe that a poet would possess a stronger intuitive sense of phrasing with a rock song. There is a way to tap into the emotions of an audience simply by the cross of a certain phrase, even a single word, against a certain chord.
A lot of comics fly by the seat of their pants, and they pride themselves on being witty, quick, and off-the-cuff. That's not my show. I wrote a show, and I want to do the show I wrote. I'm not interested in what the audience has to say.
All I needed to do was sing with conviction, speaking my truth from the heart, honestly and straightforwardly, and to offer my words, ideas and music to the audience as if it were one collective friend that I'd known for a very long time.
I've done stuff with Bud Light, but do I want to take on a beer sponsor knowing most of my community is younger kids who can't drink? There are still a lot of people over 21 who watch. You're never going to hit your exact target audience.
Love in capital letters is important. It is impossible to live without love. You must have the feeling of being loved. All artists need love - from the audience, friends and relatives. But true and faithful friends are exceptionally rare.
It's funny, I used to do a character that was just a baby - just an adult baby. I would get up onstage and complain about adult stuff, but as a baby. I was in a diaper, and I would require hugs from the audience and reassurance and stuff.
First paying gig, I got 20 bucks. I played at some really weird venue. I don't remember the venue; I just remember it was the last stop on the A train. It was, like, the Far Rockaways, Queens, and it was an audience of, like, three people.
I cannot tell you that I ever fell in love with the theater as an audience. I fell in love with the theater as an actor for a period of time, but I have struggled as an audience, and I struggle more now than then. I was always a movie guy.
There was a notion that I could do only niche films like 'Yevade Subramanyam' or 'Krishna Gaadi'... I wanted to break that and draw in a larger audience so that next time I do a so-called niche film, more people might come out to watch it.
Unfortunately part of pulp is that there is sex, there is violence. It's not a kids' show. It's an 18-and-over audience - like anything cable. I see some things in Game of Thrones that turn my hair gray. It's the way the industry has gone.
If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. You must reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.
Steven Spielberg is unique. I feel that the kinds of movies he loves are the same kinds of movies that the big mass audience loves. He's very fortunate because he can do the things he naturally likes the best, and he's been very successful.
I know there are people who don't like their audience or like the experience of being recognized or celebrated, but my audience has been very good - they don't bother me and when they do contact me it's usually on the nicest possible terms.
My job is to provide the atmosphere and assistance to the contestants to get them to perform at their very best. And if I'm successful doing that, I will be perceived as a nice guy, and the audience will think of me as being a bit of a star.
You've got a song you're singing from your gut, you want that audience to feel it in their gut. And you've got to make them think that you're one of them sitting out there with them too. They've got to be able to relate to what you're doing.
I just wanted people to hear the sounds and fall in love and not overthink it. You get a 12-year-old and you'll get a 55-year-old standing next to each other in the audience. They're from different eras of music but they'll feel the same way.
It's very strange to go from being completely secluded and doing your own work for yourself, to having an audience - and having an audience that's aware of what you do and expects you to do things that they like. It can make things difficult.
An audience is pleasant if you have it, it is flattering and flattering is agreeable always, but if you have an audience the being an audience is their business, they are the audience you are the writer, let each attend to their own business.
The process with the play, obviously, it belongs to you by the time you're stepping on stage in front of that audience for the first time. You can change it by just a look or things you're not even conscious of, but it's such a full immersion.
I've been called a race traitor, prejudiced about white people. It's ridiculous... I have a really, really diverse crowd. Most comedy clubs appeal to white audiences. I have a very mixed crowd. I have a lot of visibility in the black audience.
The music played most around St. Louis was country-western and swing. Curiosity provoked me to lay a lot of the country stuff on our predominantly black audience. After they laughed at me a few times, they began requesting the hillbilly stuff.
When I sing, I feel like when you're first in love. It's more than sex. It's that point two people can get to they call love, when you really touch someone for the first time, but it's gigantic, multiplied by the whole audience. I feel chills.
I am 100% proud Puerto Rican but have lived two-thirds of my life in the United States. So, there will be some things I write in English, but my main way of conversing with my audience is in Spanish because, at the end of the day, I'm a Latino.
A lot of filmmakers hate testing movies. I love it because it's an audience medium. The biggest problem has been the prevalence of all these Internet sites. It's almost impossible to have a test screening without it leaking out on the Internet.
Thank God for the Internet. Thank God for these amazing portals that are there. For instance, Netflix and Amazon. The kind of content the audience has got to see has gone up drastically, and because of this, the quality of work will go up, too.
I never take credit for my movie's success. I am the face of the movie, but there are numerous unsung heroes behind the scene. From the director, cameraman and editor to the light boy, everyone knows how difficult it is to satisfy the audience.
I used to watch all these great fat women in the audience laughing at the comic, and I would think how wonderful it would be to be that man. He was surrounded by pretty girls, he obviously got more money than anyone else, and everyone loved him.
Your purpose is to make your audience see what you saw, hear what you heard, feel what you felt. Relevant detail, couched in concrete, colorful language, is the best way to recreate the incident as it happened and to picture it for the audience.
When we say a show is successful, it's because, relative to the investment, it's successful, relative to how else we would have spent that money on licensing something else, does this creation - did it attract the audience that it was built for.
I felt like, for so many years - and I still even feel it - as a girl, you can't really expect to go on stage and dress like a boy and jump around and scream with the audience and mosh and stuff, and every time that happens, I feel really proud.
I always wanted to be a character actor rather than the poster boy that they tried to make me 100 years ago. An actor has a degree of responsibility to change for the audience, to give them something new each time, to surprise and not bore them.
I think a lot of what the iPad app is going to be used for is just reading the best content on Quora. It really helps the whole system run because people who are writing answers can get this very wide distribution to a large audience of readers.
I'll get to the force field of this hostility, why it's there, why the rage is in any of us, why the trash takes place, whether or not it's between me and a couple of hecklers in the audience or between this country and another nation, the rage.
A really great reception makes me feel like I have a great big warm heating pad all over me. People en masse have always been wonderful to me. I truly have a great love for an audience, and I used to want to prove it to them by giving them blood.
You can have characters that say one thing and do another, and in certain kinds of drama, you can't get away with that because the audience will become confused - or certainly, the commissioners will become confused and tell you to stop doing it!
'Blueprint 3' is made up of songs, but it's also a commentary on the idea that in order for rap to survive, we have to stretch out the drama. We have to stretch out the audience. It can't be this narrow - we have to stretch out the point of view.
I've always believed that a dance evening energizes an audience, that an audience goes out feeling chemically stronger and more optimistic. This is what I understand about dance. And this is an important thing. We need this. Our culture needs it.
I'm kind of private and I keep things inside a lot, but it's been so wonderful to realize that people care about you in a very deep way and that there is some bond between an actor and his audience. I don't even know how to describe that feeling.
On the monetization front, our strengthening leadership in internet user base and broadening reach of our platform have already positioned us as a must-buy platform in online video for brand advertisers to reach a nationwide audience within China.
Writing 'If Chloe Can' has taken me on an amazing journey: from launching the event at Downing Street, to a performance to 1,000 inner-city school girls at a West End theatre, then to an audience of hundreds more at the Royal Society of Chemistry.
Our job is to unleash the play. It's not just about your character or interaction with the other characters. There's an energy in all good plays which you have to find. And that is part and parcel of ensuring that an audience gets what it's about.
Before YouTube, I used to show videos at film festivals, and that was good and constructive. Watching things with an audience is a great way to gauge - it's pretty clear what's working in comedy when there's a joke and people laugh or don't laugh.
When you're playing in front of people, everything is external. It's all going from you out to an audience. When you're in a studio, it's very internalised, it's going from the air through you into this meticulously crafted, layered piece of work.
When I first went on the 'Johnny Carson show', the band did not want me, and Carson did not want me. If the audience had not received 'Tiptoe' so overwhelmingly, I do not believe Carson would have let me come over to be on the panel after the song.
Admitting that we ourselves are bar mitzvah boys is our way of letting non-Jews as well as Jews in the audience know that everything we're doing is meant in good fun; we're having fun with our background and don't want to be taken in the wrong way.
If we're going to reach a broader audience, we have to stop thinking about that audience strictly in terms of teenage boys or even teenage girls. We need to think about things that are relevant to normal humans and not just the geeks we used to be.