A Quote by John C. Maxwell

Persuasive communication involves enthusiasm, animation, audience participation, authenticity and spontaneity. — © John C. Maxwell
Persuasive communication involves enthusiasm, animation, audience participation, authenticity and spontaneity.
Any film that exists that is thorough, you can't give it to an audience of one and have that be effective communication. Communication involves an audience of many that have a conversation, put it through the ringer, filter it and then a sense of it coalesces.
My experience is that there's absolutely a correlation between the enthusiasm within an animation studio for a given character and the enthusiasm the audience feels when seeing the movie.
The business of art is no longer the communication of thoughts or feelings which are to be conceptually ordered, but a direct participation in an experience. The whole tendency of modern communication...is towards participation in a process, rather than apprehension of concepts.
Enthusiasm needs to be effective enthusiasm. We must distinguish between the contribution and enthusiasm of the cheerleader and the enthusiasm of the player. While cheerleaders serve an important purpose, the real contest involves players on the field or on the court of life. We must not go through life acting only as enthusiastic cheerleaders available for hire; we must be anxiously and personally engaged.
I think comedy as an art involves the audience as a participant as much as is involves the artist.
You're going to get different kinds of animation for different kinds of audiences. Traditionally, adult animation has been for the young male audience. There's no reason why that should be.
If we want to make friends, let's greet people with animation and enthusiasm.
I think if you put 100% into anything and you do it with authenticity and enthusiasm, then it really shines through.
This is an issue that has an exceedingly high number of threads in it. It involves race, it involves culture, it involves crime, it involves justice.
Sometimes you don't know what you've got until you put it in front of an audience - and the enthusiasm for the show from the audience has been just incredible.
Yeah, once we decided to use that replacement animation, and the seams are a function of that animation, and other movies paint those out, we decided we wanted to keep the presence of the animation and the type of animation that it was rather than make it look polished. It created a kind of vulnerability, I think.
There should be a name for this, for the process whereby one knows one is being yanked and concedes it has been done successfully - that one is grateful to have been spun. In the theater, it is called the willing suspension of disbelief. That's what allows the play to make an impact on the audience: they have to be able to make believe that what's happening on the stage is really happening. Maybe to a degree it is a requirement for all political participation, all effective political communication, too.
There might be a different model for a literary community that's quicker, more real-time, and involves more spontaneity.
I intend to work until the day I die. I retired from feature-length films but not from animation. Self-indulgent animation. It's nice that I have the mini-theater in the museum. Most of the museum visitors attend the mini-theater screenings and we've never had a complaint about the quality of the films. I'd like to continue to make films that leave the audience satisfied, but I also think it's pointless unless I offer them the kind of animation they can't get anywhere else. They're fun to do. They're short so it's less stressful.
Audience participation can often inject a dose of adrenalin into your average dial-tone literary reading, especially if a handful of audience-members are mentally unhinged, and let's face it - you can always depend on at least one crackpot at these things.
Persuasive speech, and more persuasive sighs, Silence that spoke and eloquence of eyes.
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