Barack Obama has brought glamour back to American politics – not the faux glamour-by-association of campaigning with movie stars or sailing with the Kennedys, but the real thing. The candidate himself is glamorous. Audiences project onto him the personal qualities and political positions they want in a president.
If you start adapting to audiences, you’re really second-guessing the situation, and it becomes a bit more like cabaret.
London audiences are tricky, too. They don’t laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.
Life in cyberspace is often conducted in primitive frontier conditions, but it is a life which, at its best, is more egalitarian than elitist and more decentralized than hierarchical. It serves individuals and communities, not mass audiences, and it is extraordinarily multi-faceted in the purposes to which it is put.
In a world where audiences listen for attitudes rather than arguments or information, speakers must feel the pressure to posture rather than engage.
What’s interesting is the show allows for the awkward pauses to be captured, which makes it stylistically unique, especially for American audiences.
Audiences need to keep demanding shows with strong female leads.
It’s good to give people a jolt. If they’re expecting one thing, it’s important to give them something else. If you do something startling, audiences might at first freak out, but then they start to think, ‘This is not going to be conventional. I’m going to enjoy this.’
Both ‘Oz’ and ‘Homicide,’ they’re critically admired, so it’s not like they’re really neglected, but I wish they’d found bigger audiences.
My obligation is to the movie audiences.
The first album was more born from busking – they were the ‘me-and-my-guitar’ songs. Going out on the road and opening for big acts changes you. You look out at those audiences and start to think, ‘OK, I need to write some music that’s a little bit bigger.’
I have been very fortunate since ‘Ice Age’ to make movies that somehow charm audiences. I think that the key to it for me has been coming up with the right ideas but, more importantly, choosing the right collaborators and artists to execute those ideas.
I noticed that ‘Lost’ had sort of worn out our welcome; because of ‘Lost,’ audiences were no longer being patient with slow reveals: they wanted answers quickly, and they wanted story to develop much faster.
You can feel how the audiences react. For us, it’s about the performance and the reaction. We feed off the energy. And no matter how enthusiastic they are, we can tell if we’re playing well or not.
Audiences don’t come to theatres going by reviews. Even if a film is rated low, the collections won’t get affected.
We have people who pay to use our products and services, and they are heavily engaged in our content. If you erase the brand perceptions of AOL, and consider that people pay to use our properties, you would probably consider this one of the most valuable audiences on the Internet.
If you’ve seen ‘Spirited Away’, ‘Spirited Away’ is set in a very, very Japanese sensibility. And so, to Japanese audiences, when Sen would walk up, the main character, and look at this big building with a flag on it with Japanese writing on it, everyone in Japan would know what that is.
Audiences can be leery of sequels; the studios make a hit, they see dollar signs, and they make a cheap rip-off.
My routines come out of total unhappiness. My audiences are my group therapy.
We continue to see summer as a great place for unique concepts, innovative business models, and passionate television audiences.
I’m excited for the audiences to hear the title track, ‘Cheers to the Fall,’ plus ‘Red Flags’ and ‘Rearview.’
My mother was electric onstage, and I vividly recall the extraordinary power she had over her audiences.
What’s the point of doing a great character in a bad film? Instead, I want audiences to thoroughly enjoy a film and remember my part when they walk out of a cinema hall.
My audiences are generally mixed. Some people like techno, others are into the pop music, and others enjoy my film music.
In day-to-day commerce, television is not so much interested in the business of communications as in the business of delivering audiences to advertisers. People are the merchandise, not the shows. The shows are merely the bait.
You can’t ignore the Asian and Hispanic populations in L.A. We can let audiences know independent film is not just about white men.
I think it’s a fair criticism to say that we’ve gotten our fill of superhero films, and audiences should just have different things to choose from when they go to the theaters.
After I graduated, I tried Broadway, which was difficult for me. It was tough to get a part on Broadway, so I just started talking to audiences at different social gatherings, and little by little I became Don Rickles – whatever that is.
I have noticed a growth in demand from audiences to include more women of colour and women to be cast as significant roles in TV shows and movies.
Frank Capra, Hollywood’s Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the ‘Saturday Evening Post’ covers of Norman Rockwell. ‘It’s A Wonderful Life,’ the latest example of Capracorn, shows his art at a hysterical pitch.
It’s no secret that the media has fragmented in recent years, that audiences have been cut into slivers, and that more and more people get their news from ever narrower outlets.
Audiences have taken a liking for supernatural and fantasy shows. The genre is doing well on the small screen, and I wanted to get into that mould. I have never played a naagin, and such roles have always intrigued me.
My audiences love watching my films.
We’ll see what I do after ‘Badlands’ to show audiences that I have more in my repertoire besides martial arts.
I’m not a fan of endless mystery in storytelling – I like to know where the mythology’s going; I like to get there in an exciting, fast-paced way – enough that there’s a really clear, aggressive direction to where it’s going, to pay off mystery and reward the audiences loyalty.
‘Frozen’ definitely isn’t about a man, but about the relationship between two sisters. At different times in our lives we find ourselves either more connected to or disconnected from the people in our family, and I think audiences will really be able to relate to that.
Audiences are not interested in watching singers who stand stiffly and sing for three hours.
I always try to pick and choose projects that will be impactful to someone. From films like ‘Clockers’ to playing a doctor on ‘ER’ to doing ‘8 Mile,’ where I’m in charge of the hip-hop battles, I think it affects all kinds of different audiences. And I just try to keep that in mind, to keep people entertained.
I’ve been at this for 40 years. And, as an academic, I’ve been content with relatively small audiences, with the thought that the audience I long for will find its way eventually to what I have written, provided that what I have written is good enough.
What I’m doing in the work I do, I prefer not to just have a series of jokes. It’s nice when audiences can connect with the characters as well.
My strongest audiences are in Germany and France – they stuck with me through my dark days in the ’70s.
A rock star, according to my definition, is someone who inspires people around him with something he is best at. In my case, it’s music, but I wanted audiences to realise there is a rock star waiting to be unleashed within them as well.
Some writers take to drink, others take to audiences.
I really believe at the end of the day, regardless of how noble you are or how patriotic the film might be, it has to serve as entertainment in order for your audiences to come into the theatre and watch it. Otherwise, audiences will wait and see it a few months later when it is premiered on television.
Sometimes audiences want to see what we’re doing to their world. It’s our obligation sometimes to reflect it.
All we try and do is make the best films we can. If you do that then hopefully the audiences will come, and they have. Everything else is gravy.
Technology is in fact one of the most exciting things that’s happened to museums today – but one has to be careful about where one uses it. For instance, the Internet provides an incredible opportunity. It is a way for us to reach audiences around the world and further our educational mission.
Popularity matters a lot, as at the end of the day, the love of your audiences can make you win.
Chennai is the birthplace of a new language in cinema. The audiences here are the most evolved moviegoers to be found anywhere in India.
We’ve ignored audiences all these years. We’ve just amused ourselves and hoped enough people would want to eavesdrop to make it all viable.
I do think the audiences have a right to judge what they feel is offensive and not.
At this stage, what would be rewarding would be for audiences to want to watch.
When we first started, everything was animated, everything was comedy, and there was really nothing that was longer than about two minutes, because that’s all audiences would watch.
