A Quote by Scotty Cameron

Museums have these great collections and the reality is they attract a regional audience not a national audience. — © Scotty Cameron
Museums have these great collections and the reality is they attract a regional audience not a national audience.
As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.
You can't really be super conservative and continue to keep your audience, but at least the audience that we attract comes with a certain level of naughtiness.
I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
In anything really, it's finding the reality. You can't be 'real,' but you can create a reality. And that created reality is what the audience believes in. And that's essential. Because if the audience doesn't believe that, they're never going to trust you. And if they don't trust you, you can't lead them up the mountain.
Regional films have a great impact on the audience, especially because of the proximity of the language with the people.
I believe a great song will always attract its audience and get is due.
The great proliferation of museums in the nineteenth century was a product of the marriage of the exhibition as a way of awakening intelligent interest in the visitor with the growth of collections that was associated with empire and middle-class affluence. Attendance at museums was as much associated with moral improvement as with explanation of the human or natural world.
The action genre is kind of designed for a young male audience. But we found on 'The Matrix' that we hit the Valhalla of movie making, which is the four quadrant audience - the young male audience, the older male audience, the young female audience and the older female audience.
A good stand-up, you lead the audience. You don't kowtow to the audience. Sometimes the audience is wrong. I always think the audience is wrong.
I am part of a team organising an Emma Hamilton exhibition for the National Maritime Museum for 2016, and the amount of planning is a revelation - borrowing from museums and collections all over the world.
You don't fully understand the meaning of a work until the audience responds to it. Because the audience completes the circle, and adds a whole other shade of meaning. Whenever you view something, and this is why great works of art survive decades and centuries, is because there's a door within the work that allows the audience to walk through and complete the meaning of the work. An audience isn't passive, nor are they unintelligent.
It is not the job of artists to give the audience what the audience want. If the audience knew what they needed, then they wouldn’t be the audience. They would be the artist. It is the job of artists to give the audience what they need
The thing with playing live is, most of the audience is in their 20s and 30s. If you're older than that, you don't tend to go out to shows anymore. So it's good if you can attract a younger audience because they've got the energy to get up off the sofa and go out.
We have been playing to a 70-30 black to white audience. And we are just doing what should come next, trying to attract a larger house, trying to reach an audience that's half black and white.
Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room.
The only reality of the theater exists in the mind of the audience. That audience looks collectively at what is going on on the stage and collectively imagines that this is real.
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