Quotes of All Topics . Occasions . Authors
When we were doing shows in the mid-'90s, the audiences were 95% black. What's happened now is the gentrification of hip-hop. A lot of cities passed ordinances that made it hard for black audiences to gather in large groups. Clubs are more open to hip-hop now 'cause it's the same crowd that goes to rock shows.
If you're going to be a media brand and not just a linear television brand, then you have to make sure you're speaking to all women and all interests, so it may mean that you end up smaller audiences serving individual pieces of content, but the aggregate is what's important and what we're paying attention to.
That literary-popular distinction is, in my view, vastly overstated. At the far poles there are clearly books that are purely commercial and purely literary, written for audiences that want to see the same thing enacted over and over and over again. But the middle is where most people read and most people write.
I do atypical work for a white person, which is that I lead primarily white audiences in discussions on race every day, in workshops all over the country. That has allowed me to observe very predictable patterns. And one of those patterns is this inability to tolerate any kind of challenge to our racial reality.
Every time I've done comedy in, like, traditional comedy clubs, there's always these comedians that do really well with audiences but that the other comedians hate because they're just, you know, doing kind of cheap stuff like dancing around or doing, like, very kind of base sex humor a lot, and stuff like that.
I feel like the rap metal at the end of the 1990s destroyed rock music for everybody and suddenly everybody felt like they had to apologise for being in rock bands. People suddenly felt bad about wanting to reach massive audiences and the sense of theatre, that we have in our live show, became something to avoid.
Audiences of critical thinkers are my favorite kinds of audiences. There are jokes I tell in the show that don't get laughs unless I am in front of an audience of critical thinkers. Put me in front of a crowd of science teachers or astronauts! The guileless aren't our audience - it's the critical thinkers we love.
I give a facial expression in a moment of silence for audiences to react to what I just said and kind of let that marinate with the audience for a little bit. I enjoy the physical part of the comedy as much as the verbal content. People tend to gravitate to not only what they're hearing but also what they're seeing.
It takes a while for audiences on film to see you as something different if they've seen you for so long as a specific character. It's up to the actor to be like, 'Look man, let's try something else,' even if it's an ultra-low-budget independent. People who rep you will keep going with whatever they can send you on.
Life in cyberspace is often conducted in primitive frontier conditions, but it is a life which, at its best, is more egalitarian than elitist and more decentralized than hierarchical. It serves individuals and communities, not mass audiences, and it is extraordinarily multi-faceted in the purposes to which it is put.
Audiences have grown to equate being startled with being scared, and will complain that a movie 'isn't scary enough' if it doesn't have enough jump scares... so that means that a lot of studios will insist on shoving jump scares into a movie, regardless of character or story structure, thinking it 'makes it scarier.'
Lamentably, alien audiences may be frustrated by the switch to digital television. That's because the transmitter power for DTV is fairly evenly spread across the spectrum. The spikiness is gone, and from afar, the attention-grabbing squeals of analog television's carriers have been replaced by DTV's smooth, low hiss.
People are really surprised when they meet me that I'm a recluse. People think I'm very gregarious and outgoing - and I am - I'm thinking about writing a book about it called 'The Gregarious Recluse.' How the more that you put me out there in front of audiences, the more that when I have down time I have to disappear.
What's hurtful is when you have portrayals like, you know, when you have someone like Jared Leto who accepts an award for 'Dallas Buyers Club,' after playing a trans woman, standing in a full beard and looking fully cis male: it is communicating to our audiences that underneath all of that, it's still a man under that.
When I speak on work-family issues to audiences around the country, some of the biggest complaints I hear come from individuals who are described by the census as living in 'non-family households.' They resent the fact that their family responsibilities literally don't 'count,' either for society or for their employers.
When we started work on 'Baahubali,' my sheer aim was to be able to live up to the imagination that Rajamouli sir had in mind. As an actor, my intention was to bring up 'Baahubali' live on screen for the audiences. I never even expected in my wildest of dreams that the film would grow on to become a phenomenon of sorts.
Younger audiences are into me because I did 'Stuart Little,' and that movie was a very big deal for kids. And in 'Angels in the Outfield,' a generation of kids learned about magic and angels. And then, of course, there are these two blond girls named Mary-Kate and Ashley Olsen, and I played their nanny on their TV show.
People get excited about things like 'Swan Lake' because they generate a personal involvement. If you set up the story properly, audiences respond to the ambiguity. People ask, 'What exactly is happening in Act Four?' and I never say. I can't put it into words, but they've got a feeling about it, and that's good enough.
Frank Capra, Hollywood's Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the 'Saturday Evening Post' covers of Norman Rockwell. 'It's A Wonderful Life,' the latest example of Capracorn, shows his art at a hysterical pitch.
I hope that audiences understand that there is a precariousness to black lives in this country that we need to address, that there has always been a precariousness to black lives in this country that we need to address. In fact, our country is built on the precariousness of black lives, the disposability of black lives.
I find it very strange when people say that they are trying to solve 'Uncle Vanya' or find a solution for 'Henry V.' Plays aren't puzzles. They are about playing. But so much theatre has become about performing and acting rather than playing, which is a great pity because audiences are captivated by watching people play.
The more money you spend, the more you need to make back, and the more pressure there is to appeal to everyone - which to the studio means that the specificity and uniqueness must be watered down. But I think mass audiences like things that are more specific and tend to have a voice, like 'Napoleon Dynamite' or 'Superbad.'
Hollywood is a special place; a place filled with creative geniuses - actors, screenwriters, directors, sound engineers, computer graphics specialists, lighting experts and so on. Working together, great art happens. But in the end, all artists depend on diverse audiences who can enjoy, be inspired by and support their work.
What has started to interest me is how you use all the different disciplines and tools we have at our disposal, and that includes going into different art forms, like music and movement, because often they can tap into things that characters can't necessarily express through words. Audiences really enjoy that total experience.
The Broadway audiences are very vocal and seem very engaged. For certain shows, especially with a show like 'The Heiress,' the audience's reactions sound like 'The Jerry Springer Show' sometimes. That seems to be a very New York thing. Oh, there's also the entrance round of applause here, which we don't get too much in London.
Obviously, we were disappointed that neither 'The Last Witch Hunter' nor 'American Ultra' found bigger theatrical audiences. It's important to note that our focus on risk mitigations limited our exposure on both films, and I'm pleased to report that 'The Last Witch Hunter' is doing well in a number of international territories.
When I was on 'Dallas,' I was known to audiences of the '80s. And then when my sons, who are in their 30s now, were going to college, 'Dallas' was the cult thing to watch because it was being done on the soap channels, so a whole new generation saw it. And then I have the young fans that knew me from 'Step By Step' in the '90s.
One thing that probably is unique at Activision is that we really spend a lot of time up front with our audiences, and in big quantities and with a very thoughtful process, to really try and draw out from them what it is that they would like to play. So we have a pretty good sense going in what the expectation of the audience is.
Before the web and these highly focused entities, journalists got to decide what was important to tell their audience and educated their readers. Now, journalists have to try and understand what their consumer actually wants to read and what angle they are looking for in order to keep audiences engaged in a highly competitive world.
There's a new success model, and us and some of our peers are now starting to prove that TV and very traditional content also works on the Internet, specifically on YouTube, and it can rival television audiences and television production value. 'MyMusic' is proof of that, having a successful run and now coming back for a second season.
Of all the places I've been while talking to audiences about the U.S. Army's 5th Special Forces Group and their story in Afghanistan, one of the most rewarding was an appearance before the 5th Group soldiers themselves at Ft. Campbell, their home, and the place from which they had launched their historic mission in Afghanistan in 2001.
In places like Glasgow and Newcastle, audiences have a tradition of being amusingly combative. But they're not trying to ruin the act, they're trying to give you a challenge. It's like a cat playing with a mouse - the cat doesn't want the mouse to die, it wants to keep it alive for its own amusement and to be entertained by its struggle.
I have a very awesome seat in the house every time I play. When the lights come up, and the sound turns on, I'm playing for a roomful of human beings. And geographical and political borders just all dissolve. And we unite through rhythm inhalation. I mean, I'm so grateful that, you know, audiences around the world connect to English music.
Audiences seem to have a limitless appetite for vampires and for fantasy in general. Unlike many other British actors, I haven't been building up my pension appearing in films like 'The Lord of the Rings' and 'Harry Potter,' but fantasy has now got a grip on me. I am also appearing in 'Game of Thrones' as the head of the House of Lannister.
Performing in Detroit or performing in Chicago, you're on your own turf, but when you tour a show, the audiences change. You're in a completely different space; sensibilities change. I think I learned a lot from doing that - how written material works in different places, learning to have confidence, learning the idea of how to be adaptable.
Taking chances is my job; some will connect and some won't, and certain films find their audiences in different ways. I think 'Spotlight' probably is a better movie because of 'The Cobbler.' You learn with every movie you make: you learn from your mistakes, and you learn from your achievements, and I really do have that approach to filmmaking.
I thought 'The Artist' was a perfect way to find a good balance. The artistic challenge is obvious because the film is black-and-white and its silent, but I did my best to make the movie accessible and easy to watch. I really don't want to make elitist movies. I really try hard to work for the audience. Audiences are smart. They get everything.