Luckily, West End audiences seem to rather like very old people.
Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.
In pop music, people take a stand. When you look at a Beyonce or a Kendrick Lamar, they are going to tell you what they think. And audiences totally get it. They totally love it, and they are totally hungry for it. But in our conservatory training, I think it’s a little lacking.
Online is such an important platform… it’s all one giant melting pot of talents. The times are changing. It’s just art now. You can share your audiences with everyone, and it’s exciting.
Those of us in the industry who are still foolishly clinging to the idea that female films with women at the center are niche experiences – they are not. Audiences want to see them and, in fact, they earn money. The world is round, people.
It is true that a lot of people are easily distracted online. As a result, too many of us have given up on digital audiences for ambitious work, and this is a mistake.
With Australian audiences, there’s a certain level of education – as far as how much access and exposure they have to music from various genres. So when you do ‘Big Day Out’ and there are all these different musical acts, you see the same people in your crowd that were there for a completely different artist.
It is important that alongside the blockbusters there are stories that can inspire and audiences can experience together in the cinema.
I go to these horror conventions all the time, and these audiences get so deep into it. They’ve pulled apart every movie fifty ways from Sunday.
Audiences want great story telling; it’s why white people watch my show ‘Black in America.’ It’s why black people watch ‘Latina in America.’ All of that is statistically shown and proven but it was because it was good story telling about people who were outsiders.
I like audiences and performing and, you know… applause!
The sound is the key; audiences will accept visual discontinuity much more easily than they’ll accept jumps in the sound. If the track makes sense, you can do almost anything visually.
I am happy with the response I am receiving for ‘Kaabil.’ Audiences’ love is what we work for, after all.
Being able to play all over the world to different audiences and have them sing my lyrics back to me, even if they can’t speak the same language, is crazy.
It was tough doing ‘Underneath the Lintel’ in New Jersey in the wintertime, but rewarding. Those audiences were lively and interactive. On-stage was great, but off-stage was difficult.
Audiences like to be made to feel that there is a world where things go right: where big emotions can happen and yet feel safe. This is why there is a constant tension in Hollywood between studios who want happy endings and writers who want to explore the human condition. There is a time and a place for both!
I did a fantastic emotional film, ‘Autograph.’ But the audiences rejected me in it. They like to see me laughing and fighting.
When you start playing as young as me, and you’ve been in front of audiences your entire life, this is literally what I grew up doing.
As much as the mystery element is all a lot of fun, when you do go to ‘Edwin Drood,’ you’re going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.
I feel like there’s an obsession with pace right now in theater, with things being very fast and very witty and very loud, and I think we’re all so freaked out about theater keeping audiences interested because everybody’s so freaked out about theater becoming irrelevant.
You can connect with an audience by being a conduit. I’m a big believer of connecting wrestling audiences.
In the fact that ‘Vogue’ is someone that can help guide enormous audiences through this fascinating world, I would like to think we are as influential and actually are now reaching so many more people than we ever dreamt of back in the Fifties or the Sixties.
I do atypical work for a white person, which is that I lead primarily white audiences in discussions on race every day, in workshops all over the country. That has allowed me to observe very predictable patterns. And one of those patterns is this inability to tolerate any kind of challenge to our racial reality.
Many museums are drawing audiences with art that is ostensibly more entertaining than stuff that just sits and invites contemplation. Interactivity, gizmos, eating, hanging out, things that make noise – all are now the norm, often edging out much else.
When a president speaks, it’s to multiple audiences.
You know, the hard thing about audiences not liking what a character does is that they sometimes take it out on the actor personally. That’s something that you know when you become an actor or actress, but it’s always hard to deal with when it actually happens.
When you do comedy, you can’t please the world, although I’d like to think that most of my audiences were on my side.
‘Dating In The Dark’ is a unique show that is going to bring something very new to the table for the audiences. The format will make people look beyond the general dating norms of our society: who knows, maybe even reinvent them.
Audiences want to see intelligent movies.
The trick is to have my own particular taste and feel for the theater to audiences who have been used to one particular style and taste for nearly 40 years.
I enjoy working on stage. Having relationships with the audiences and question and answer sessions afterwards. I enjoy that.
Anyway, I collapsed in France in the middle of a tour. I hadn’t been eating properly, I was getting very phobic about audiences, and I collapsed in pure fright.
I think audiences can relate to the guys I’m playing, those large-and-in-charge idiots. Or maybe I just make them feel better about who they are, or who they’re dating.
Films that score very high with test audiences generally tend to not be so great. But, there’s a lot of money involved in making movies, and it’s a way for people to reassure themselves, who have spent money, and it’s also a way to work out how to market a movie.
A lot of my humor centers on the act of telling jokes and I think this can prevent certain audiences from suspending their feeling of disbelief. It might piss a few people off, but I can’t help it.
The Internet has created so many niche audiences that when millions or even thousands of people can be on the same page it’s a truly special thing.
I don’t enjoy British shows as a rule because British audiences are strange.
I’ve always had an idealistic streak about storytelling in that I believe we owe more to audiences than repeatedly bludgeoning them over the head while stealing their lunch money. We owe them inspiration. That’s why I’m more interested now in creating new heroes than hooking up jumper cables to old ones.
When I first started, as long as you were a bit brown, you could play any kind of ethnic anything. Now it’s much more localised and specific. I feel like a wise old woman looking back on the evolution of how much more sophisticated audiences are.
As an actor, you know when you’ve got great material in front of you. When you’re working, you think, ‘Is this the one? The one that everyone will respond to and be moved by?’ You pray that you have told the story well… that your peers will see it and audiences will love it.
It’s been interesting to see how similar audiences in the East and West are, actually, and how it makes you realize that when politicians emphasize the differences between our cultures, it’s usually because it benefits them more so than us.
Fortunately, our audiences are used to a kind of boredom in the theatre, and if the writer is skillful, he will flatter them into thinking: ‘Why, that’s us up there, and aren’t we – for all our little foibles – pretty nice guys and gals?’
Audiences have become so much more sophisticated, and they’re looking for different eyes and different ways to tell a story. And ‘Scandal’ certainly gives us the freedom to take those chances.
I’m obsessed with media and the way audiences can become creative participants.
RFK was a compelling figure because he was willing to challenge his audiences, and in turn connect with them in a unique way. Kennedy showed that our values define us and can inspire others to believe in the possibility of change and a better society.
If something is successful with the audience, it’s automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!
What a character wears and how it affects their mood and their movements has always been very important to me. A character’s clothes, if they’re truthful, can make audiences feel something.
Costumes and scenery alone will not attract audiences.
I think the audiences in Chicago are really open. They’re engaged and eager, and they don’t feel cynical to me. Sometimes in New York, there’s a sense of, ‘Prove it to me; prove this is worth my time.’ I never felt that in Chicago.
If you start writing to an audience you’re talking down to them. I’ve never written for any age group, I just write character. If you can capture that you’ll get the audiences, and it will be a wide range, as it is for ‘Twilight,’ it’s a pretty wide range.
