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I’m scared of audiences. One show in Amsterdam I was so nervous, I escaped out the fire exit. I’ve thrown up a couple of times. Once in Brussels, I projectile vomited on someone. I just gotta bear it. But I don’t like touring. I have anxiety attacks a lot.
Audiences can be very judgmental.
Cinemas gained new young audiences who wanted films made for them.
I want my audiences to be as open-minded as my characters.
I think whenever you have a product you are always trying to improve it. Whether it is a commercial project out on the market or it’s a creative collaboration, you are always looking to keep you audiences more engaged.
Audiences respond in entirely different ways. One thing is unanimous – music binds us altogether.
I make movies that audiences like, that I’d want to see. That’s all.
My audiences get younger all the time.
I’ve gotten more flack from the remake nature of our ‘Being Human’ from American audiences than I have from British fans. Every fan of the BBC original that I’ve bumped into seemed very excited and interested in seeing what we did with it – at least to my face!
Audiences have grown to equate being startled with being scared, and will complain that a movie ‘isn’t scary enough’ if it doesn’t have enough jump scares… so that means that a lot of studios will insist on shoving jump scares into a movie, regardless of character or story structure, thinking it ‘makes it scarier.’
The most likely explanation is the most practical. ‘Macbeth’ is a very popular play with audiences. If you want to sell out a theater, just mount a production of ‘Macbeth’. It’s a short play, it’s an exciting play, it’s easy to understand, and it attracts great acting.
Christopher Reeve did such an amazing job that to give him some kind of accent or more bravado would have been wrong. Audiences wouldn’t have responded to that either.
I thought I was going to make bigger films for mass audiences. And I wanted that. I actually had in mind a James-Bondian thriller.
One can do a film and not work for six months, but on TV, you have to produce good content every week. It involves a lot of hard work, as one has to fight for ratings every week. But I have always got love from the audiences, be it during ‘The Great Laughter Challenge’ or ‘Comedy Circus.’
When Balaji decides to release a film, all you will see and hear will be concerning the film – we go all out! Promotions are a big part of our banner – we believe in marketing… in letting audiences know what they are in for.
There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.
That’s realism: a fact that if the audiences don’t move out and watch good films at the theatre, people will stop making them.
I get the feeling that audiences have become mature and they understand that not every character is in black or white. There can be grey shades to it.
We live in a time where there’s a required instant gratification from audiences. That’s a fun challenge in terms of putting together this teaser, picking and choosing how much you’re actually giving away.
I think that people who make films and think they’re changing the world are sorely mistaken. If that really is your goal, there are far better ways to do it. I’m making politically observant films for audiences.
Audiences are brutally honest nowadays. If they don’t like an actor, they have all the right to write him off.
Our mission is to inspire audiences to play, connect, and compete by making the most engaging entertainment in the world, and our talent evaluation process ensures that each new hire shares that commitment.
I love making stuff. There’s a joy in having the first molecule of an idea, then testing it in front of audiences at secret shows that people only know about the day before. I videotape those, study them, enjoy being in the character and figuring out the movie.
Once you create a believable fictional universe, you suck the audiences into that world and they tag along for the ride.
When you do a film as unique and original as ‘Napoleon Dynamite,’ it’s hard then try to repeat what audiences loved the first time.
I don’t know whether it’s audiences or filmmakers who want characters to be likable today, but I don’t think actors are afraid of their characters being unlikable.
It was great about the sizes of the audiences we were getting in America, but sometimes you feel like telling some of the men that you’re not on stage to have your body looked at.
It’s actually kind of cool that women have taken to me. Because now I have a whole different demographic when it comes to the audiences. I have women who come out and support my movies, and that is a huge demographic for me, which is great because some actors don’t have a female base at all.
Broadway has a lot more razzle-dazzle than the West End. In terms of the everyday work routine, it’s not different, but there’s a cachet about Broadway that lends itself to more anticipation among audiences.
There’s traditionally been a large disconnection in contemporary art between the audience and the artist. Generally, audiences are looking towards what they like, and I can tell you, that’s the last thing on an artist’s mind.
I think the perception of audiences that love folk and country is they’re perceived to be more closed-minded than they really are.
After our life history was shown on the silver screen and much appreciated by the audiences, I have more of a responsibility on my shoulders now.
People do still cheer for the President. And some of the military audiences are more likely to cheer than others. I have seen him speak lately in front of groups like Freedom House, where the applause was a long time coming.
There are some professions that culturally and sociologically take a long time to change, and because of that, there’s still sexism in comedy audiences. We shouldn’t blame them: I do it too. A woman comes on, and I feel slightly anxious. I’m a woman in comedy, and I do that; I think everyone does.
Audiences want to watch good films, even if it is dubbed in another language.
I think it’s more interesting to throw people into a story and let them catch up instead of explaining and feeling like you have to slow down for them. I think audiences, for the most part, they don’t want to be ahead of you.
If I hear a lie in my life with my children, with my wife, my work, my audiences, I want to annihilate myself, vaporize myself and wipe myself off the face of the earth.
Just as actors are afraid of child audiences because they’re so honest, I would be scared stiff of going before the big folks.
The difference between critics and audiences is that one is a group of humans and one is not.
There are tons of really good writers out there, but for one reason or another, they just have not had the support that allowed them to build audiences.
Every Mother Counts is a nonprofit organization dedicated to making pregnancy and childbirth safe for every mother. We inform, engage, and mobilize audiences to take action and raise funds that support maternal health programs around the world.
My father’s films are often very slow for the modern audiences, which are used to a lot of editing. It’s the audience that watches the film instead of the director dictating the reaction he wants from you.
I’d love to star in dark drama that audiences could really relate to.
Audiences grew to like this duality of feeling, where you’re both championing a character and you’re revolted by them.
What I know is that the possibilities are always endless when it comes to ‘Hamilton.’ It’s broken several records. Audiences are really being touched by it, they’re being moved by it, and they’re in love with the music.
Other than Caroline’s in New York, I pretty much haven’t done clubs. That was primarily because I always liked the people and audiences at theaters and bars better.
People in the metros are busy making ends meet, but through my films, I like to give the reality of life a skip, and choose concepts which will give audiences a stress-free two-and-a-half hours.
I do comedy at a lot of colleges, and at the end of those shows, I take time to be a little more real with audiences. I try to inspire them to follow their dreams. When I was that age, it was incredible to hear stuff like that.
R-rated comedies make as much money as PG-13. And I think the audiences wanna be shocked. Especially with comedy.
Michel Gondry’s ‘Green Hornet’ was another franchise flick that felt like it came out of left field – I thought in a good way, but most audiences disagreed.
Comedy club audiences pay up to $25 per person and another fistful of cash to cover a two-drink minimum, so when they don’t like something, they let you know – with silence.
I don’t make films for critics, and I’m not particularly interested in what they have to say, and they don’t have a bearing on my audiences.
