Quotes on Audience

For the great speakers, it's all about the audience. And the feeling they have is that they're giving a gift, of maybe knowledge or inspiration or motivation.

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'm obsessed with giving the audience something they don't see coming.

Treating your audience like thieves is absurd. Anyone who chooses to listen to our music becomes a collaborator.

I have found, in short, from reading my own writing, that my subject in fiction is the action of grace in territory largely held by the devil. I have also found that what I write is read by an audience which puts little stock either in grace or the devil. You discover your audience at the same time and in the same way that you discover your subject, but it is an added blow.

The story itself, the true story, is the one that the audience members create in their minds, guided and shaped by my text, but then transformed, elucidated, expanded, edited, and clarified by their own experience, their own desires, their own hopes and fears.

I don't know, on a sitcom, and in theatre especially, you have to really be listening to an audience. And if you're losing them, you can hear the sniffs, and the playbills shuffling and whatnot.

What we're doing with Band of Brothers is trying to put it into human terms, so it is not just a flickering, black and white myth on a screen, it is a resonant story. I want the audience to recognize themselves in these men. They're not just mythic heroes.

Don't be too clever for an audience. Make it obvious. Make the subtleties obvious also.

I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.

You make your music, then you try to find whatever audience is out there for it.

You can go from doing something quite silly to something dead serious in the blink of an eye, and if you're making those connections with your audience then they're going to go right along with it.

I always think if it's a good story, the audience can't wait to run out of the theater and go tweet somebody with the gist of a story, in a nutshell, almost, because it was that interesting.

On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.

Constantly risking absurdity and death whenever he performs above the heads of his audience, the poet, like an acrobat, climbs on rhyme to a high wire of his own making.

I've never done anything half-heartedly; it's a disservice to me and the audience if I do it half-heartedly.

New ideas need audiences like flowers need bees. No matter how bright and colorful, they will die unless others work to spread them

I talk to the audience, look into their eyes. I need them and they need me.

What is the point of singing wonderful lyrics if the audience can't understand what is being said or heard?

Treat your audience like poets and geniuses and they’ll have the chance to become them.

The thing about a cartoon is, you can do whatever you want. The tightrope that we are walking on 'The Simpsons' and 'Futurama' is "How do you continue to surprise the audience, but make them good surprises?" Not every surprise is good, but you want to continue jolting people.