Quotes of All Topics . Occasions . Authors
It is not entirely true that a TV producer or reporter has complete control over the contents of programs. The interests and inclinations of the audience have as much to do with the what is on television as do the ideas of the producer and reporter.
You do something you're really quite proud of, and the public doesn't like it. Then you do something that perhaps you're not at all happy with and the public loves it. And that's the moment of truth, because it's the audience that's the final judge.
There's something about small venues that's amazing for developing material. It's almost like you can not only hear people's response, but you can understand it. In bigger venues you lose that, but you gain this sense of camaraderie in the audience.
I've always assumed from the beginning that I had relatively few contemporaries among my readership. Not that I was consciously writing for a younger audience but that what I was doing interested a younger audience, or at least threatened them less.
It doesn't matter what you feel - ultimately, it's what the audience feels. You can finish a scene and think to yourself, 'Oh, God. I was so deep in that moment,' and find it just didn't play. I don't know if I have very good radar about that or not.
I firmly believe that emotions are universal, and I know that when they connect with the audience, it works. There is no such thing as an entertaining or a serious film; there are good films and bad films. Good films will always find a vast audience.
When I was a young comic just starting out, I was very cautious, as I didn't want to alienate people. George Carlin's bravery became a benchmark. I became perfectly fine with alienating some people in the audience. That just comes with the territory.
What I like about Elvis is the same thing I like about James Brown, Michael Jackson, Prince. These guys, back in the day, there was no smoke and mirrors. It was just raw talent. They would step out onstage and command an audience. Talk about awesome.
Performing on stage is my first love - it's why I wanted to be an actor in the first place - and 'Arcadia' is the highlight of my career so far. I love the intimacy of a live theatre audience - you can really squeeze every last drop out of each scene.
Certainly, when I left New Zealand, there was no career there as a comedian. I was doing more live gigs than anyone, and I was maybe doing three a week. Even then, it would often be the same people in the audience, going, 'I saw you on Tuesday, mate!'
I want to be a star. It doesn't mean that I'll act any less. My performance will be at par, but I want to be a star. I want the audience to spend their hard-earned money on my tickets without doubting. And when that day comes, I'll believe I'm a star.
Honestly, the essence of publishing hasn't changed. Since the days of the cave man carving stuff on the cave walls, people have wanted stories, and storytellers have wanted an audience. That is still the case. The changes are really a matter of format.
The stage is bigger than life. There you are projecting to an audience. In television, you're drawing the camera in to you. And with TV, there isn't that immediate feedback from an audience. You do hours and hours of taping and never get that response.
The challenge at this point is helping a brand understand they're not just commissioning a viral video but tapping into an existing fan base and an audience that's very loyal... It's two brands working together: the Rhett and Link brand and their brand.
I think the key divide between the interactive media and the narrative media is the difficulty in opening up an empathic pathway between the gamer and the character, as differentiated from the audience and the characters in a movie or a television show.
When the Beatles came in, I really concentrated on making a lot of movies. Those beach films that we did were a lot fun. They hit with an audience that related to what we were trying to do on the screen. That kept me going all through that Beatle period.
Because of the earlier loss of the two elder siblings, my brother and I lived a very pampered and protected life. Nursemaids kept constant watch. With my parents busy at dinner parties and social events, we only met them as if for a daily royal audience.
What you never want to do is have a story that doesn't track emotionally, because then you're going joke to joke and you're going to fatigue the audience. The only thing that's going to string them to the next joke is how successful the previous joke is.
In any event, the proper question isn't what a journalist thinks is relevant but what his or her audience thinks is relevant. Denying people information they would find useful because you think they shouldn't find it useful is censorship, not journalism.
I believe the path to a long career is to keep the audience guessing. Daniel Day Lewis is my absolute hero from that point of view. I literally will pay to see anything he does because I know it's going to be something different than I have already seen.
Gaming in general is a male thing. It isn't that gaming is designed to exclude women. Everybody who's tried to design a game to interest a large female audience has failed. And I think that has to do with the different thinking processes of men and women.
I would not want the limitations held by the name of a classical musician. I want many people to enjoy my music much beyond just classical music fans. I think the term, 'violinist,' keeps me distant from the audience. I want to communicate with them more.
I wasn't trying to be a role model with 'The Dutchess,' but suddenly, seeing little girls in the audience with their moms made me think about what I do onstage a little bit more. I had to watch my mouth, because it can be filthy. It changed things for me.
That word 'prodigy' has such a derogatory implication. It is used to describe people who are forced to play a lot of concerts very early, people whose audience comes because of their youth, people who are exploited. None of the above really applied to me.
I believe in the fact that an audience has one heart. I can just tell you one thing: If I sing the 'Adagio,' and I pull it out with all the honesty I have - whether they're Japanese, Italian, American or Belgian or French - they will react in the same way.
There's no doubt that 'Lion' is an audience pleaser. I mean, I went to a lot of research screenings all over, in London and America and Australia, and the results were ridiculous, and the crowds were... they just loved the movie, so for me, my job is done.
Showing fear is like having comedic timing because I think actors have a tendency to go way over the top with it, and that sort of loses steam for what's going on. The audience sees right through that and laughs at you, so it is something that I'm aware of.
I suppose, in a way, one could say I may be less interested in my career than the audience is. Not to mean that I'm disinterested in my career, but I don't see it in terms of one stepping stone or, 'Now I'm going to go into my blue phase,' or what have you.
Usually when I'm making a movie, what I have in mind first, for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn't quite been in before.
Indians can identify with the Indian sensibilities, and rather than taking something from foreign films, it is always good to make a movie which has been enjoyed by a certain audience or in a certain part of India and make it available to a larger audience.
If I'm playing a bad guy, and I'm playing him evilly - I'm making him evil; I'm being evil because I want the audience to understand that he's bad - or if I have a line that's funny, I do it in a comedic way, that, to me, is a lie. It's dead when I watch it.
If you are writing a story and trying to draw an audience to come and hear you tell it, it's got to in some way relate to them. Who wants to come and hear about your specific problems? It's not therapy - it's supposed to be a communal piece of entertainment.
And that's what the audience was feeling too, as they watched the show and as they watch it now. And overriding all of that is the way it was written. It was written honestly. There was never any manufactured laugh. There was never compromising of character.
I enjoy theater just for the sheer excitement of it and the immediate response that you get, and how every night the audience is a little bit different; but then, it's expensive to work in N.Y., and stage work is limited, so you're just doing it for the art.
And there's a lot of that stuff with people bringing their kids, kids bringing their parents, people bringing their grandparents - I mean, it's gotten to be really stretched out now. It was never my intention to say, this is the demographics of our audience.
The Metropolitan Opera, of course, is the gold standard in opera. The Met experience includes the huge stage, the vast audience, the elaborate sets. Anyone who saw 'Faust' there - I did - knows exactly what hell is like, complete with fire, smoke and terror.
More often than not, I'm worried about, where shouldn't we have music? Because the tendency is just to put everything everywhere all the time in a lot of movies. You end up just numbing the audience when you do that and it's not the best way to tell a story.
That's what counts for you as a player if you are on a high salary and you are earning, let's say, enough money, which you normally can't spend in your lifetime. It's something you should really think about - where you play, what level you play, the audience.
Thinking like an entrepreneur means establishing a core audience of early adopters and constantly experimenting to make your product better and better. If your initial concept is showing promise and early success, keep iterating to refine and evolve your idea.
I tend to play characters that I can infuse with certain kinds of humour. Even the baddest guy can be funny in his own particular way. I want the audience to engage with the character on some deeper level so that they leave the cinema still thinking about him.
That's the magic of art and the magic of theatre: it has the power to transform an audience, an individual, or en masse, to transform them and give them an epiphanal experience that changes their life, opens their hearts and their minds and the way they think.
I'm not like a legend that - so I'm sort of in the middle in this sort of gray area where, you know, I'm creating music, and I'm not saying there isn't an audience, because there is; because all of those people go out and spend $80 to $150 on a concert ticket.
I've discovered that Motown and Broadway have a lot in common - a family of wonderfully talented, passionate, hardworking young people, fiercely competitive but also full of love and appreciation for the work, for each other and for the people in the audience.
'Funny Games' was conceived as a provocation. My other films are different. If people feel my other films are, or respond to them as provocation, then that's quite different. 'Funny Games' is the only one of mine where my intention was to provoke the audience.
When I was younger, I would go to auditions to have the opportunity to audition, which would mean another chance to get up there and try out my stuff, or try out what I learned and see how it worked with an audience, because where are you gonna get an audience?
Different kind of cinema is being created, people are coming up with different kind of scripts, they are able to come up with scripts that work with the audiences and also scripts which will have something to say to the audience, which is a heart-warming thing.
In Paris and later in Marseille, I was surrounded by some of the best food in the world, and I had an enthusiastic audience in my husband, so it seemed only logical that I should learn how to cook 'la cuisine bourgeoise' - good, traditional French home cooking.
I've always been fascinated by the difference between the jokes you can tell your friends but you can't tell to an audience. There's a fine line you have to tread because you don't know who is out there in the auditorium. A lot of people are too easily offended.
I love the idea of finding new talent, however you do it, and the television mechanism - seeing artists grow and rise to the occasion - is a medium that actually works because there's a way for the audience to get to know an artist and for the artist to improve.
Theatre is a game of hide-and-seek. For both the hiders and the seekers, the thrill is in the discovery. When the rules of the game are too vague or too complicated, however, the audience can lose its urge to play; the prize no longer seems quite worth the hunt.