American audiences are just the same as any other audiences. Except a bit more boring.
The goal is to become the central hub of publishing, where we have all the written material – user-generated and professional. We want to be the place where people can publish instantly to their audiences… and to get there, it’s just about doing things step by step.
There are a significant number of people who appreciate what we do, and most of them gravitate to Analog because this is where they can find it. The other magazines tend to share their audiences, which may result in each of them having a smaller market share.
Sir Derek Jacobi has been an inspiration to so many actors and audiences throughout his brilliant career. To see him in Shakespeare is an event in itself.
I’ve enjoyed appearing in Atlantic City. East Coast audiences are a bit brighter than Las Vegas audiences. I think most entertainers will tell you the same thing. The East Coast audiences are more perceptive – especially when it comes to a performer with a theatrical background.
I think audiences, producers and directors included, develop crushes on actors (actresses in particular) and then lose interest and move on to the next one.
Cricket cannot afford to throw up meaningless games before its benefactors, which is what spectators and television audiences are.
From time to time there is a move to do a little less in the way of period dramas, but people rebel. Audiences say we want them. There is a big hunger for them. I don’t think it’s sentimentality or nostalgia, it’s often that they are simply the best stories.
My audiences have given me lots of love as a tennis player. I hope they appreciate my passion for acting.
I’ve always operated under the notion that audiences don’t always know when they’re being lied to, but that they always know when they’re being told the truth.
Audiences want to feel represented, want to be able to empathize with the characters and the stories they are seeing on the screen.
I’m just trying to have fun, and maybe the way I hold myself kind of freaks people out. I don’t feel like an outsider, and I think my friends feel the same way I do. Now that we’re playing to larger audiences, maybe we’re weird to some people. But I’m trying to express what I am.
We’d go to studios with ideas to do movie musicals and they’d literally kick us out. They said, ‘Audiences aren’t interested in movie musicals. You’re wasting our time.’
‘Visiting Mr. Green’ is a good play. I enjoy being in it, and I have a wonderful colleague, Aidan deSalaiz, to work with. Audiences like it a lot. What’s not to like?
YouTube viewers essentially curate their own content, so you could form your playlist to watch ‘H+’ through the eyes of one character, in chronological order, in reverse-chronological order, by geographic location. Our hope is that audiences take ‘H+’ into their own hands.
It works in the comic book, but as the audiences have gotten older and more sophisticated, I think the stories need to grow up with them. This is a story about a couple of rival gangs and what goes wrong in a couple of days.
I had found English audiences highly satisfactory. They are the best listeners in the world. Perhaps the music-lovers of some of our larger cities equal the English, but I do not believe they can be surpassed in that respect.
Beautiful women get in Hollywood’s door quickest and then are shut out when their beauty no longer measures up to whatever it is that Hollywood or audiences decide is beautiful enough; once they’re inside, their choices are limited by the same beauty that won them their entree.
I’m sure the audiences will connect with ‘Yeh Hai Aashiqui,’ as it will feature stories inspired from real life.
The audiences love to see me fight on screen.
I won’t make shorthand films, because I don’t want to manipulate audiences into assuming quick, manufactured truths.
I would love to be a guest on a talk show or a panel that shows women who have been on reality shows who’ve had success, to prove to audiences that you don’t have to be a fool to become successful.
I hope that audiences understand that there is a precariousness to black lives in this country that we need to address, that there has always been a precariousness to black lives in this country that we need to address. In fact, our country is built on the precariousness of black lives, the disposability of black lives.
TikTok helped me change my life. TikTok brought my song to several different audiences at once.
You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.
Whatever films I make, the mandate is that it should touch the audiences and engage them from the first scene.
I like the more community element of comedy. And I hate people pitting other people against each other. Audiences are always judging you, but when you’re being judged for a competition, it just takes away the joy of the job.
The Supreme Court is having a hard time integrating schools. What chance do I have to integrate audiences?
Youku Tudou gives us the reach into China that we’ve been looking for, and we look forward to sharing even more content with international audiences in the near future.
Acting is trying to be absolutely truthful; to get audiences to believe that you are a dean, when, actually, not only are you not the dean, but if you walked into the building they’d probably throw you out. That’s very hard.
We remain committed to inspiring and compelling social change to the world’s most pressing problems through the power of great stories and engaging our audiences to take meaningful action.
Vegas has the Whitman’s Sampler of audiences. They come from all different places, so you have to do some crowd psychology. You have to find the heartbeat of the room. It doesn’t shift my jokes, but it shifts my timing and my attention.
Getting onstage and trying out all of my material and what works well with audiences and what doesn’t, what works well in different atmospheres, has been the best training.
It helps me to learn things in different languages, even if it’s just phonetically, and to make myself vulnerable to other audiences by trying to reflect back to them the genius of their own cultures, and to do that, oftentimes, in new jazz settings, new arrangements. It’s a way to show respect.
Storytelling is always evolving, but if you allow people with new voices and perspectives to come in, you open audiences up to different walks of life.
I also want to return to doing stand-up. I’ve become frightened of live audiences. This is a really telling sign that I need to go back on the comedy circuit again.
Sometimes you have to listen to other people, and see what the audiences want. That’s what entertaining is about.
You just have to keep your head down and do your work and hope that audiences respond.
It’s always an inner wish of every actor to reach out to maximum audiences.
My career is a black comedy of sorts. I spent a lot of time explaining myself to various different groups. But more and more, I’m finding that the desire to communicate, which all these audiences share, is a powerful thing.
For an actor, it’s great fun to play one of these hungry white sharks. Audiences love to hate them.
Acting is about being in the moment and audiences are smart to know what is authentic and what is not.
I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.
I often tell audiences at the start of my shows that I’m not gay because I’ve got petitions from lesbian groups saying ‘Can you tell people you’re heterosexual because you’re giving us a bad name.’
We try to keep audiences coming back in greater numbers by doing the unexpected and not simply following a pattern or a mold or a formula.
You look out in our audiences, you don’t see a sea of white-haired people. You see a lot of younger people.
I now have two different audiences. There’s the one that has been watching my action films for 20 years, and the American family audience. American jokes, less fighting.
My favorite time at NPR has been ‘Wait Wait… Don’t Tell Me!’ It was loads of fun and gave me a chance to meet and talk in person to the audiences that I felt I had known for so many years on the air.
All of the sudden the audiences started getting younger and the spread of the attendance was really wide. I think it’s as a result of the records selling more that they started following our careers.
Part of the responsibility of being a modern storyteller is understanding modern audiences and trusting what they can handle. It’s not just settling into what we think they want.
I enjoy being on CNBC’s ‘Fast Money,’ in part so that audiences can watch a woman who is as well informed about, and invested in, the market as her male counterparts.
For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that’s really an interesting thing. I have an audience that goes from kids to seventy year olds.
Unfortunately for critics and audiences alike, I have made several films, and some films with really terrific actors. And I say this at my own peril, but Marion Cotillard is the best actor I’ve ever worked with.
