No producer should revive a play unless they have a very good reason for it. I think there’s quite enough about a good play to make it available to new audiences.
I feel like, as an artist and a songwriter, I have to reach certain audiences and give people a little bit of everything.
When audiences look at an action actor like myself, sometimes we are very easily stereotyped or characterized as one type. They forget that we are actors, too.
I’m always aware of who my core audiences are and I serve that niche.
By employing a certain sense of humor, you essentially get more serious about things and show conflict more effectively than if you were overly dramatic or only violent because that’s a one-way approach that just forces audiences to watch something appalling.
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.
Audiences don’t ever disappoint me, in the sense that movies I feel really good about, they usually feel really good about too.
Stars work because of familiarity. They fill theatres because audiences know who they are. There is a brand equity. But there are films strong enough to not need stars, or films that should not be made with stars at all, where only fresh faces will do. So I make the decisions accordingly.
And lot of Asian audiences and reporters don’t like me to act as a bad guy. But I think I want to become an actor, I want to try different way.
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The choir tries to perform for everyone. It enables us to be very diversified with our audiences.
A film like ‘Shirdi Sai’ caters to the family audiences, while ‘Rajanna’ evokes patriotic sense in viewers. ‘Damarukam,’ on the other hand, is a full-length commercial film made for the masses.
Audiences are the same all over the world, and if you entertain them, they’ll respond.
I think I would say ‘The King’s Speech’ is surprisingly funny, in fact the audiences in London, Toronto, LA, New York commented there’s more laughter in this film than in most comedies, while it is also a moving tear-jerker with an uplifting ending.
I always tell my audiences not to listen to such artists who play audio CDs at their concerts. Such shows shouldn’t be called live shows. People like AR Rahman, Sunidhi Chauhan, and Arijit Singh are the ones who hold true concerts.
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’m really blessed to be liked by the audiences.
All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.
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.
I always remind myself that my audience is human. Therefore we have to be human, play human, reveal the humanness of who we are. Audiences gravitate towards that.
Spielberg may have intended ‘Schindler’s List’ as the opposite of entertainment, but the film grossed $321 million and engaged audiences as only entertainment can, coaxing them to cry and shudder, leaving their hearts more heavy than broken.
You’re not a slave to those test audiences.
I think it’s really important for young audiences to see that you don’t have to apologize for being angry when you’re angry, and you don’t have to apologize for standing up for yourself when people are pushing you around.
Audiences don’t want to see the kind of self-indulgent, boring dance that is so prevalent today.
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.
I love to sing with my daughter. Audiences like it because a mother-daughter pairing is a curiosity.
In the ’50s, audiences accepted a level of artifice that the audiences in 1966 would chuckle at. And the audiences of 1978 would chuckle at what the audience of 1966 said was okay, too. The trick is to try to be way ahead of that curve, so they’re not chuckling at your movies 20 years down the line.
I’ve certainly enjoyed doing clinic tours for larger audiences, but the most valuable teaching experience has been the hundreds of lessons that I’ve given where I can hear the students play.
I have found that children are the most open-minded of all my audiences. They are not set in their ways. They are open to ideas.
Minimalism seems closest to the sophisticated storytelling of movies. Movies have really educated contemporary audiences to be the most intelligent, sophisticated audiences in history. We don’t any longer need to have the relationship between one scene and the next explained. We will figure it out ourselves.
Media is very different from financial services. People are very fickle and very vocal. They believe that things should be one way and not the other. It’s still very rewarding to build products for huge audiences. It feels like you’re making an impact.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers’ intellectual and emotional attention.
The thing I do, really, is a communication with audiences more than any achievement through records.
When you see the audiences and the smiling faces at the shows it really makes up for the work that you put in. I have a job I really love so whatever hecticness comes up – I’ll just deal with it.
I did a couple comedies to balance myself as an actor and balance how audiences see Donnie Yen as an actor, and I would even say as a celebrity or icon, to some fans. I want to show that I’m not Terminator.
American audiences are great. They get what I am doing, but as my band will tell you, nowhere tops the Irish audience. They are just brilliant. They are very open, but the Americans and Spanish come a close second.
Let’s put it this way: art house theaters are vanishing. They have almost disappeared completely, and that means there’s a shift in what audiences want to see. And they have to be aware of that and be realistic. It’s as simple as that.
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.
I’ve lost audiences, I’ve recovered them.
London audiences have this reputation for being a bit too cool for school.
With the fragmentation of television audiences and the advent of cable and on-demand services, the prestige of being an anchor is not what it was in the days of Walter Cronkite.
We want to create these dramatic situations, whether they are real or not, to entertain audiences.
I want to write songs people can sing along to. I can think of nothing more exciting than travelling the world and playing to audiences and having them sing your words along with you.
We need to try to unite audiences, unite countries, join musical tastes, unite people.
Audiences sometimes emit these weird frequencies that make you think you’ve weirded them out.
We don’t care about our audiences that much. We just go out and play.
I haven’t been in the film world long enough to really understand the gravity of ‘Big Hero’s’ success. I’m just happy that it is translating well internationally and that the story and the characters are loved by audiences around the world, and everything that’s come after that has been secondary to the initial response.
I am never going to stop playing the villain. I would be foolish to do so because the audiences apparently enjoy watching me, and who am I to say no?
Audiences are smarter than ever; they know if filmmakers cheat an environment.
Believe me, I don’t take that lightly. To have struck gold twice with ‘Rent’ and ‘Wicked.’ I know it’s rare and I’m very lucky to have that kind of phenomenon in my life. They’re not just great shows, they’re shows that resonate with young audiences.
Mulan represents honour and bravery, but, for me, it’s also that she’s willing to discover herself and willing to go forward. I think that’s important to audiences too. Not many people would be willing to do that in the first place.
I’ve always seen movies in English with Spanish subtitles. For audiences around the world, the language is less important than if it’s a good film.
Given the kind of filmmaker I am, the kind of experiences I’ve been trying to give audiences, I was drawn to the potential of VR before I even tried watching anything in VR.
We blush very, very easily, and we get terrified of audiences.
Since most of our films cater to crossover audiences, I think it’s time we make films for multilingual viewers.
