A Quote by Peter Gould
In our show, we try to think about consequences, not about tricking the audience or hiding things to fool the audience.
Related Quotes
I don't think about the audience, I don't think about what makes them happy, because there's no way for me to know. To try to think of what makes for entertainment is a very Japanese thing. The people who think like this are old-fashioned. They think of the audience as a mass, but in fact every person in the audience is different. So entertainment for everyone doesn't exist
There's actually a disdain for the conversation about audience in the art world. Artist to artist, if you say, "What do you think about audience?" they would probably say, "I don't think about audience, I only think about my work," yet the audience is such an important part.
If I make assumptions about the audience and start overthinking things, I can drive myself crazy about how the audience perceives me. I try not to do that anymore.
Once I'm performing the show, I think that hour show has a certain intimacy with our audience. And that intimacy is through the lens and the live audience is a witness to that, whereas the audience at home is actually the object of my efforts.
I think about the audience in the sense that I serve as my own audience. I have to please myself the way, if I saw the movie in a theater, I would be pleased. Do I think about catering to an audience? No.
To be honest with you, I don't know how even to articulate it at this point, because sometimes the real difference in the seasons perhaps will come in the way the viewership responds and the audience responds. The thing about the show is - we realign a lot about it once our audience watches it. We learn things that we can't even anticipate.
I make comedies and I always try... I don't try but I allow to have at least 5% of the jokes or have some jokes that I know will be understood by only about 5% of the audience. It's that guy in the corner who gets it and laughs. But he has to have his jokes too. That's part of my audience. Part of my audience is the people who will only get certain things.
I think about all these influences and musical cultures, then the opinion of the audience is of course important, but when I'm working on an album or a new project, I'm not all the time thinking about what the audience will think about it.
If we're going to reach a broader audience, we have to stop thinking about that audience strictly in terms of teenage boys or even teenage girls. We need to think about things that are relevant to normal humans and not just the geeks we used to be.
I tend not to think about audience when I'm writing. Many people who read "The Giver" now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.
I tend not to think about audience when I'm writing. Many people who read 'The Giver' now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.
I don't understand choreographers who say they don't care about the audience or that they would be happy to present their works non-publicly. I think dance is a form of communication and the goal is to dialogue with the audience. If an audience member tells me they cried or that the dance moved them to think about their own journey or a family member's, then the work is successful.
When you're filming any show off a live audience, you get a feedback straightaway about how it's going, and the audience always enjoyed it.
Speakers find joy in public speaking when they realize that a speech is all about the audience, not the speaker. Most speakers are so caught up in their own concerns and so driven to cover certain points or get a certain message across that they can't be bothered to think in more than a perfunctory way about the audience. And the irony is, of course, that there is no hope of getting your message across if that's all the energy you put into the audience. So let go, and give the moment to the audience.
Long experience has taught me that the crux of my fortunes is whether I can radiate good will toward my audience. There is only one way to do it and that is to feel it. You can fool the eyes and minds of the audience, but you cannot fool their hearts.
When I started off in journalism, you knew there was an audience out there and that you wanted people to read what you produced. But it also felt like you had a limited ability to shape the audience, or to acquire an audience, for what you were doing. So you didn't really think too much about that.
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