Top 161 Viewer Quotes

I’m interested in the space between the viewer and the surface of the painting – the forms and the way they work in their surroundings. I’m interested in how they react to a room.

As a viewer, the minute I start getting confused, I check out of the movie. Emotionally, I’m severed.

Sometimes, big budget movies with big stars also flop, and sometimes small films manage to win the heart of audiences. Ultimately, it is the viewer who is the king and it depends on the liking of the audiences.

I try to find a subject that is interesting to me and to the viewer both. If I can’t, then I stop right there.

To survive in a creative economy, you need basic instinct! You have to know and smell your viewer.

I feel my work is made for one being, one individual. You could say that’s me, but that’s not really true. It’s for an idealized viewer.

Pure Flix makes evangelistic films, but we also make family films. I think the viewer wants to see quality entertainment that the whole family can watch, and many nonbelievers watch our films because they can watch with their family and young kids.

I love Bollywood as a viewer, but going in front of the camera and singing and dancing is not my thing.

What’s really important is to simplify. The work of most photographers would be improved immensely if they could do one thing: get rid of the extraneous. If you strive for simplicity, you are more likely to reach the viewer.

My work has threads of ideas from all over the place. I try to crystallise them in something simple and direct that the viewer can then take where they want.

I don’t like the idea the viewer can kind of sit there and go, ‘Make me like this person.’ People aren’t inherently sympathetic.

Every viewer who ever turned on ‘Doctor Who’ has taken him into his heart. He belongs to all of us.

As a viewer, I decide when I see the promo of a film whether I want to watch it or not. No amount of marketing can convince me otherwise.

When I am preparing my ‘lookalike’ photographs, I think about the character of the real people, because, if the photographs are going to be plausible, you have to convince the viewer that they could have happened.

I don’t believe in using too much graphic violence, although I’ve done it. It’s better to be suggestive and to allow the viewer to fill in the blanks in their minds.

The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.

The better the coverage, the more discriminating the viewer.

Ultimately, you have to meet a realistic setting on screen with some imagination as a viewer, as that is what creates a story.

When you’re representing a sport, people are more likely to judge and comment as, unlike other fields, sport permits every viewer to participate to a certain level.

When I get saturated by commercial films, I’ll probably do another film like ‘Siskiyaan.’ But yes, as a viewer, I really enjoy commercial cinema; so obviously, as an actor, I would love to be a part of one.

Film fixes a precise visual image in the viewer’s head. In fiction, you just hope you’re precise enough to convey the intended effect.

‘The Wire’ is my all-time favourite show. It takes its time, and it doesn’t spoon-feed the viewer.

I wanted to write a story that demanded the viewer’s attention.

I have great faith in the intelligence of the American viewer and reader to put two and two together and come up with four.

If you go to Sundance, the experience that I’ve had there as a viewer is… there’s like a hundred movies there, and you’ve got to figure out what movies are sold out, what can you see. Sometimes you go to see movies that you don’t know anything about because it just works into your schedule.

For me, photography is not just about exposing film, it’s about exposing the viewer to something new, a place they haven’t gone before, but most importantly, to people that they might be afraid of.

But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.

I’m not sure I’d have said, ‘I’m a fantasy viewer.’ Now I know I am, because I sat and watched ‘Game of Thrones’ and have never been more invested in a show in my life.

Women get scrutinized based on appearance far more than men. And look, I speak from experience here. When I wear a bad outfit on the air, I get viewer e-mail complaining about it. A lot of e-mail. Seriously.

What I aspire to is to have the viewer look directly at the subject, as if they’re looking through a window at the real thing.

Are we blasphemous in saying that 2-D is largely a thing of the past, and computer-generated animation is the present and future? It’s all about creating a better experience for the viewer – and that includes 3-D.

While there are certainly food-focused content out there on the Web and on TV, most of this content need to weave through many layers of editing before it reaches the viewer.

There’s that rule: Don’t show any of the other cameras. Why? Do you think the viewer doesn’t think we filmed this?

Films that are entertainments give simple answers but I think that’s ultimately more cynical, as it denies the viewer room to think. If there are more answers at the end, then surely it is a richer experience.

I think it’s a little simplistic to explain a work through the psychology of its author. In other words, that Haneke has emotional problems, so I don’t have to take his films seriously. By using this argument, the viewer retreats from the challenges of the film.

Trump was a Fox News viewer before he was a Fox News star. He learned a lot about the Republican party’s base by watching the network and calling into the morning show ‘Fox & Friends’ while still starring on NBC’s ‘Celebrity Apprentice.’

When you’re watching a Hitchcock movie, you, for most of the movie, are playing the guessing game. What’s the endgame? What’s the plot? How are these people involved? It’s the best way to tell the story, and as a viewer, that’s what you want to experience.

As an anchor, I want to make sure we’re exploring all angles on a story. The viewer can make up their own mind.

I always put myself in the audience’s place and see if, as a viewer, I would want to see the film. If yes, then I want to know who’s directing it, what my character is, and if it’s impactful. If all these points fall in place, I’ll do the film. If not, then I won’t think twice before saying no.

The real change that paintings undergo is in the perceptions of the viewer.

After 25 years in the profession, I have understood that being a reader or viewer is a task of great responsibility.

If action scenes just happen decontextualized, they lose their weight and the viewer can feel they don’t make sense and that they wouldn’t have happened that way.

My job is very simply that of a photojournalist. I want to stop people’s eye on the page, I want to move the viewer to laughter, to sadness, sometimes to wince – not to impress other photographers.

For me, my layer came so organically, ‘oh, he went and got neck surgery,’ and you see a bit of real life with the baby, my wife and home life. It opened up this whole new insight into me for the viewer.

Whenever you finish an artwork and the viewer comes and views it, at that moment you’ve given up control.

It was difficult for me to feel my feelings, so I just buried them. Then I found that acting was a way for me to get them out. But now that I’m a reasonably sane adult, acting is more about my trying to engage other people: Acting is cathartic for the viewer as well.

I think the notion of traditional anchor is fading away – the all-knowing, all-seeing person who speaks from on high. I don’t think the audience really buys that anymore. As a viewer, I know I don’t buy it.

When I as a fan and a viewer tune into ESPN, I don’t want politics and I don’t want to look at a person and have to think politics.

As a pundit, it’s important to tell the viewer something they might not know, be unbiased and not sit on the fence.

Basically, what you really want to do is try to engage the viewer’s body relation to his thinking and walking and looking, without being overly heavy-handed about it.

The space between the television set and the viewer is holy ground.

I have no choice but to admit that, for a while, I was a casual viewer of ‘American Idol.’ By ‘casual viewer,’ I mean I watched every episode aired between 2004 and 2007.

A viewer’s imagination is a powerful storyteller, and can often come up with things way more frightening than what you can explicitly show in a horror movie… try to engage that imagination, and the results can be magical.

Even the finest actors will have great difficulty showing somebody’s loneliness. To put an actor on a chair and ask him to do nothing and yet tell the viewer everything about the character, it’s a difficult task.

To see the viewer count grow for ‘HQ,’ it moved so quickly and that was the most thrilling ever.

A viewer who skips the advertising is the moral equivalent of a shoplifter.