Quotes of All Topics . Occasions . Authors
'Rudhramadevi' is a film which falls into a very new genre. It is a historic and biographic genre movie. It should be called a bio epic. I am curious to see how the audiences accept the film.
Audiences change because life changes. Countries change geographically, climatically, socially and morally. Many things happen, and cinema, in a sense, reflects what's happening in the world.
You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.
Audiences have become so much more sophisticated, and they're looking for different eyes and different ways to tell a story. And 'Scandal' certainly gives us the freedom to take those chances.
Documentaries are a powerful and effective way of bridging the gap between worlds, breaking through to new audiences that wouldn't otherwise be engaged - in essence, not preaching to the choir.
People in the metros are busy making ends meet, but through my films, I like to give the reality of life a skip, and choose concepts which will give audiences a stress-free two-and-a-half hours.
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.
Scotland is one of my favourite places to perform: it's really something special. Scottish audiences are just so enthusiastic; their approach to dance music just feels similar to my own somehow.
What we are doing in the United States is we have launched a television station for mainstream audiences, which means whether they are native Americans or people living from any part of the world.
'The Birth of a Nation' occupies a view of the South not far from Scarlett O'Hara's in 'Gone With the Wind,' and modern audiences have to wrestle with that beloved movie's romanticizing of racism.
I don't pay attention to target audiences and therefore I often hear that I am a ratings killer, somebody who fundamentally doesn't care whether one person is watching or an entire soccer stadium.
I often tell audiences at the start of my shows that I'm not gay because I've got petitions from lesbian groups saying 'Can you tell people you're heterosexual because you're giving us a bad name.'
I'm not focused on radio or whether I'm going to get all the audiences... all I wanted were great songs that were universal to any listener - Black, White, Green, Yellow; any kind a age difference.
I would love to be a guest on a talk show or a panel that shows women who have been on reality shows who've had success, to prove to audiences that you don't have to be a fool to become successful.
I do think that, yes, one should always be receptive to the fact that there are many different types of audiences, and they are not necessarily in a clean, reductive demographic like they once were.
There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.
All of the sudden the audiences started getting younger and the spread of the attendance was really wide. I think it's as a result of the records selling more that they started following our careers.
You look back on films sometimes and if they have not been as all-out successful as you anticipated you try to find reasons why maybe it didn't come off for audiences as well as you would have liked.
Suddenly we saw that you could do plays about real life, and people had been doing them for some time, but they weren't always getting to the audiences. They were performed in little, tiny, theatres.
I feel very proud of everyone I've worked with on 'SpongeBob' because they're all brilliant artists working at the top of their game to make something really special, and I think audiences feel that.
What's very important for me is that I want family audiences - all kinds of audiences - to watch my films, and the more people who watch the movies, the better. So I want to be part of popular cinema.
The relationship between the media owner, their relationship isn't strictly with people and audiences. It's also with advertisers, and that's the most relationship in radio; in fact it pays the bills.
Efforts to develop critical thinking falter in practice because too many professors still lecture to passive audiences instead of challenging students to apply what they have learned to new questions.
Having big audiences when you're on a book tour is like Valhalla if you're a person who used to sell Girl Scout cookies on the side. Because you want to give the reading that will sell the most books.
The toughest challenge I faced came right at the beginning of my career with 'Blood Knot,' which was trying to convince South African audiences that South African stories also had a place on the stage.
There have been some very extreme hecklers in audiences whose bile was so hateful and so meant that it would be a bit frightening to think that all I'm doing is jokes and yet someone hates me that much.
It's funny when you follow your own sort of bliss, then other people tend to respond in kind, meaning audiences. It's really weird how that works, but it does seem to apply to 'Nancy & Beth' especially.
If Mr. Chan ever makes another movie like 'The Tuxedo,' it's American audiences that will see him in court. With 'Shanghai Knights,' he has come through with one of his best. This time, it's personable.
Journalists don't have audiences - they have publics who can respond instantly and globally, positively or negatively, with a great deal more power than the traditional letters to the editor could wield.
In the U.K., we always had a special relationship with the audiences because it wasn't 'More Than Words' that broke us: it was 'Get The Funk Out' that broke first. That was what we had always dreamed of.
To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.
For a woman who didn't want to be an actress, who is too tall, lanky, shy, and who didn't fit into a Hindi conventional heroine, I am overwhelmed that my audiences have accepted me in India and the world.
We want to be a consolidator, not a seller, and we want to continue to explore the kind of targeted entertainment, targeted audiences, that I think are happening and emerging in every country in the world.
With comedy, the jokes will come out, and people will see them coming. Changes in daily life or current events can change the consciousness of audiences and can make the show less funny or feel more stale.
Every year, Hollywood is looking for that new, white leading man and new white starlet that audiences fall in love with. But they're not looking for the next Denzel Washington, Will Smith or Sidney Poitier.
If the purpose of the stumpy little NFT theatre under Waterloo Bridge is not to acquaint young audiences with Ozu, with Ophuels, with D. W. Griffith and with Agnes Varda, then what exactly does it exist for?
Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.
Awards are important for all directors because they improve your working conditions. You're only as good as your last film, so if you get prizes or large audiences, then you get more money for your next film.
I like it when actors get an opportunity to chew into something. They love scenes with beginnings, middles, and ends - scenes that give an arc to their characters and allow audiences to get to know these people.
Unfortunately for critics and audiences alike, I have made several films, and some films with really terrific actors. And I say this at my own peril, but Marion Cotillard is the best actor I've ever worked with.
Ultimately, what we do as musicians, I think of us as a type of emotional engineer. We essential take these sound waves, this sound, and we organize it into emotion, and that's how we connect with our audiences.
I think that people who make films and think they're changing the world are sorely mistaken. If that really is your goal, there are far better ways to do it. I'm making politically observant films for audiences.
'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.
A great horror film works as a communal experience more than almost anything else, except for maybe a comedy. That's something that I've experienced, just taking this movie around and watching it with audiences.
I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.
This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.
I am always attracted to the moments when a person who is associated with a certain message, image or sensibility evolves. I am very interested in how audiences respond to that maturation and absorb the evolution.
The loss of my mom really inspired me to go to a place with my performances that were emotionally honest, and I found that audiences really responded to that. People need to see heartbreak transformed into beauty.
'The Last Ship,' which is a beautifully written piece, is about a love triangle and young men working in a shipyard. Audiences may prefer to see a show that allows them to forget about their worries for an evening.
There are always new things to experience, internalize then write about. This process is ongoing with me. It never stops. The opportunity to reach new audiences with all of the music that we have made is thrilling.