A Quote by Suraj Venjaramood

It is at programmes organised on the sidelines of temple festivals that you get to see raw audiences who will let you know immediately whether the act has clicked or not. It was those audiences who taught me how to strike a rapport with the audience.
Putting out a book is absolutely a lesson in vulnerability because it doesn't matter how much of an audience you have. Some people who have giant audiences can't sell books because those audiences don't feel like they need to give them their money.
I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.
I really believe at the end of the day, regardless of how noble you are or how patriotic the film might be, it has to serve as entertainment in order for your audiences to come into the theatre and watch it. Otherwise, audiences will wait and see it a few months later when it is premiered on television.
Audiences of critical thinkers are my favorite kinds of audiences. There are jokes I tell in the show that don't get laughs unless I am in front of an audience of critical thinkers. Put me in front of a crowd of science teachers or astronauts! The guileless aren't our audience - it's the critical thinkers we love.
If you address yourself to an audience, you accept at the outset the basic premises that unite the audience. You put on the audience, repeating cliches familiar to it. But artists don't address themselves to audiences; they create audiences. The artist talks to himself out loud. If what he has to say is significant, others hear & are affected.
I want to use film to tell stories that need to be told to spark discussions that will lead to change. I really want to see a change in the mindset of youth, how they see themselves and how they value life. Young audiences will be able to see themselves in this film and older audiences will gain an understanding of what their kids are dealing with on a daily basis. Kids discuss what they see on TV, social media, film so I want to create content that they will discuss and will change the way they think.
In the '50s, audiences accepted a level of artifice that the audiences in 1966 would chuckle at. And the audiences of 1978 would chuckle at what the audience of 1966 said was okay, too. The trick is to try to be way ahead of that curve, so they're not chuckling at your movies 20 years down the line.
Acting is a sport - especially working with Mark Rylance. There is competition involved. I have to be muscular, challenging, get audiences on side. It's extraordinary how Globe audiences join in - it's like competing at an event - I love it.
You learn quite a bit about your film from test screening audiences. With both comedies and movies that are intense, you need to calibrate the film and see how audiences react.
In the olden days films used to become huge hits because of family audiences. But nowadays certain films cater to youth audience and once that is exploited then the film stops. and some films are for a mature audience. My aim is to satisfy all the sections of the audiences.
I get a lot of comics, and I can look at a comic and tell immediately whether I'll enjoy it or not. There are elements in the stories that I have no rapport with. I see dirty language, I see sleazy backgrounds; I see it reflected in the movies, the movies are comics to me. And I don't see a sleazy world. I see hope. I see a positive world.
I've enjoyed appearing in Atlantic City. East Coast audiences are a bit brighter than Las Vegas audiences. I think most entertainers will tell you the same thing. The East Coast audiences are more perceptive - especially when it comes to a performer with a theatrical background.
I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.
Whoever writes a bad review, I put their name on a list, and they're going to get taken care of one day down the road. Otherwise, I don't let it bother me. The truth is, these are review-proof movies. The audiences are going to see it. My audience, our audience, isn't reading Esquire magazine to see if my movie is good or not. They just want to laugh, to be entertained, and lose themselves.
We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.
Playing to bigger audiences at festivals got me in the mindset of writing music that I would sing to a crowd.
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