Insight into character comes from listening intently to the spoken word. The physical person, their charisma, charm and dramatic flair is more often used to persuade audiences, as they use these stealth tools of disguise and deception.
A lot of people don’t give their audiences credit. You can leave it a little mysterious. They can think about it.
If all you’re doing is playing it safe – trying to make the same movie over and over again – that’s when the audiences say, ‘Oh, this is just a moneymaking machine.’ But if it’s genuinely in service to the art form, then the franchise concept is being used in a way that’s exciting.
I think of my shows as family reunions. I give 100% every time. I just do. It’s a huge therapeutic release. Also I love my touring family. And I love my audiences very much.
Broadway is obviously a dream come true, but audiences everywhere continue to make performing a blast.
I want every movie to have a big audience. I’m always hopeful that it’s going to be discovered, and audiences are fantastic that way because every once in a while they surprise you. I didn’t think ‘Beautiful Mind’ was going to be that kind of global success.
I think audiences will always like bad guys who kill for no apparent reason. We just like to hate them.
When audiences start calling you by your character’s names, your job is done!
A hit film is what we work for as actors, as that goes to show that we have managed to entertain our audiences who shower us with their love and affection throughout the years.
The James Brown we saw tended to be the James Brown we chose to see: as the caped crusader of funk and soul, adored by millions, or as the face in a seemingly endless series of mug shots. The ways in which he appealed to and appalled different audiences made Brown a kind of national Rorschach test.
You think about taking audiences on a journey.
I honestly didn’t know how well Bin Roye would fare with audiences. I couldn’t be indifferent while watching it. I kept seeing tiny nuances that I could have changed with my role.
The audiences are what keep me enthusiastic.
I really enjoy playing America. I like the audiences there. It’s the home of a lot of music I grew up with.
I feel quite confident that audiences on both sides of the Atlantic are growing ‘dumber,’ if what you really mean to say is ‘less culturally literate.’
Audiences in every medium are becoming far more savvy. No one goes to watch a Tom Cruise movie any more just because it’s starring Tom Cruise. No one gives a toss. Concept is what makes actors raise their game. Everyone’s on merit now.
Audiences are a wee bit more chatty in New York than in London.
Occasionally, we would shoot something and think, ‘This is it; we are over the line.’ But the test audiences didn’t have a problem with it.
Before Charlottesville, it might have been easy to dismiss the plot of ‘Mudbound’ as no longer relevant. Now, I feel like audiences will be more receptive to the material – and to interrogating their personal histories after watching it.
I think American audiences are open to people with accents and different nationalities being on the screen.
This is what the difference is between Hong Kong and Chinese cinema – Chinese cinema was made for their own communities. It was for propaganda. But Hong Kong made films to entertain, and they know how to communicate with international audiences.
Audiences just naturally hate me on screen. I could play a role in a tuxedo, and people would think I was rotten. You can do much more with a villain part.
I definitely talk about my love of metal to audiences, and I sort of realized it was always natural and never, ‘Well, I’m going to be the heavy-metal comedian.’
It’s awesome to see something like ‘Inception’, which is just mind-blowing and amazing, and it actually resonates with the audiences. I feel like that’s rare.
One of the things that’s clear to me from interviews that I’ve read is that the more popular successful jazz musicians had audiences above and beyond the music community.
Without audiences, artists would be doing something else, and their creative and technical skills would fall on absent eyes.
Picking up ‘A Gentleman’ was pretty easy. It had everything that I like watching in a film. And it has everything that audiences like to see me doing.
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.
I know two kinds of audiences only – one coughing, and one not coughing.
Audiences always sound like they’re glad to see me, and I’m damned glad to see them.
I’m scared of audiences.
I listen to the audience and try and bounce with them. All audiences are different. But they are all homo sapiens.
The solo years have been more meaningful to the audiences than the Smiths years, but the press in England only write about me in relation to the Smiths era.
Iago is one of the most liked characters in Shakespeare’s canon, and he’s the most evil, most extraordinarily manipulative person in history. He says the worst, most politically incorrect things, even for the time the play is set in – and yet audiences adore that character.
Audiences remember you because of your work, so I believe in working hard through my films.
I hope films will be somehow preserved and seen by as many people as possible in the future. There are endless treasures for audiences to discover, if only we can keep them from disappearing.
An illustration I use to get people to understand it is this: I’ll ask major corporate audiences: Why don’t you just take all your traditional beliefs about organizations, and apply them to the neurons in your brain?
Well-written plays deserve to be learned from and understood properly, both by actors and audiences alike, and Rattigan’s very human characters help us do that.
In the battle of substance over flash, few to none of the Al Jazeera correspondents are recognizable to U.S. audiences. Many have foreign names and accents; none have best-selling books atop the list or can be heard pounding their shoes on the nightly infotainment podium.
I think feature film can be quite conservative, because you have to now get audiences to come out, and it’s quite a hard thing to do. Of course, television can be conservative too.
I guess any movie actor can become a role model for audiences out there who enjoy him.
The overwhelming love Tamil audiences gave ‘Premam’ will always remain special.
I’ll keep doing it until I die or the audiences die.
If a studio sees that a female can bring in audiences, then they’re going to make movies with that person.
The joy of making a genre film is that you have audiences in that place, and it’s a perfect place to start because all it takes is finding ways to startle them out of that complacency and encourage a different kind of engagement.
Korean films have always been distributed to international audiences as arthouse films.
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.
I enjoy all kinds of performances and take each role differently. I keep the audiences in mind.
So anyway, I really enjoyed the European audiences.
Though I am still very vulnerable to audiences – and it happens all the time – where for some reason the energy doesn’t connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.
Audiences have taught me how to sing better and entertain better.
Such films that the audiences remembers 10-15 years after they released come by rarely.
It’s Marvel movies that get the big audiences.
The secret sauce of the business that I can offer is my creativity, and in order to keep my creativity alive and fresh, I have to pretend that no one is watching the show, that there are no audiences, there are no ratings; I’m just telling a story.
I tell my audiences today that I served 10 years in Nashville! That’s a joke, of course; I was grateful for the work. Bob Ferguson, who produced Connie Smith, Porter Wagoner and Dolly Parton, started calling me in.
We’re making a commercial Hindi film catering to all types of audiences.
We want to give our audiences flexibility in the way they’re commercially engaged in the content.
People say I contradict myself because I come gangsta and teach at the same time. I don’t want to be too much on either side, but I do want to speak to all audiences.
During the Great Depression, when people laughed their worries disappeared. Audiences loved these funny men. I decided to become one.
I don’t know, I think the crowds are even more responsive now because the audiences are skewing younger.
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.
I love audiences. My God, the best friends in the world!
It seems to me there is a change in what audiences want to see. I can only hope that’s correct, because there’s an awful lot of people of my age around now and we outnumber the others.
