Top 1200 Audiences Quotes & Sayings - Page 20

All the history of the stage is a struggle, the gasping of a beautiful child born at the point of death. The moralists, censorship and oppression, technology, and now poverty have all tried to destroy her. Only we, the actors and audiences, have kept her alive.

I think of my shows as family reunions. I give 100% every time. I just do. It's a huge therapeutic release. Also I love my touring family. And I love my audiences very much.

I like it when actors get an opportunity to chew into something. They love scenes with beginnings, middles, and ends - scenes that give an arc to their characters and allow audiences to get to know these people.

One day, when I was 33, I shifted. I suddenly saw acting as a higher calling. I understood that my goal was to serve the play. And I realized if an actor can make audiences' hearts resonate or make them question their values - that's an important thing to do!

It is important to know what audiences might expect from their genre movies, but I think it is also important to not give them everything they want. As a viewer, I think it can get pretty boring that way.

Long gone are the days of the stylised old James Bond films with Roger Moore karate chopping his way through the bad guys - audiences are not going to buy it anymore. The genre has got quite serious now.

I love to do things that kind of mess with the movie formula that you can always find the right place to park; you've always got a phone signal. And I think audiences really respond to the limitations of real life when they intrude on drama.

I've never worried about what audiences would accept or had a game plan regarding the career. I never had an idea of how I should look to my fans or anybody else.

The music is one of the beautiful things that has survived the Castro regime. I have played for audiences all over the world but I've never played for a Cuban audience. For [husband] Emilio and me, the music is the one tie to our homeland.

Do mainstream crowds want to watch a movie about good things happening in black neighborhoods? Do black audiences want to see a little girl doing something in a white world?

The biggest lesson we took was when Werner [Herzog] said in a meeting with us that the mother of all challenges is to get your film seen in theater. To finally share this film has been so gratifying. The way audiences have responded, too.

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!

As an actor, you know when you've got great material in front of you. When you're working, you think, 'Is this the one? The one that everyone will respond to and be moved by?' You pray that you have told the story well... that your peers will see it and audiences will love it.

Musicians are affected by the audience just as much as audiences are affected by the musicians. The only problem is that often times musicians won't allow themselves to admit to that fact.

Over the years, I've been trying to build a relationship with an audience. I've tried to maintain as much of a low profile as I could so that those characters would emerge and their relationship with audiences would be protected.

If a show is good, it helps people learn about themselves, in some way and in some function. Whatever the genre is, if it's executed well, audiences grow and learn from it, and that's where their passion and enthusiasm comes from.

I love audiences, but they're not there to drive the bus. Whenever you ask opinions or anticipate opinions you can get pretty terrible art, or non-art. You need a single guiding intelligence, even in a collaborative form.

I want to write songs people can sing along to. I can think of nothing more exciting than travelling the world and playing to audiences and having them sing your words along with you.

A designer…has the true responsibility to give his audiences not what they think they want, for this is almost invariably the usual, the accustomed, the obvious, and hence, the unspontaneous. Rather, he should provide that quality of thought and intuition which rejects the ineffectual commonplace for effectual originality.

I often tell audiences at the start of my shows that I'm not gay because I've got petitions from lesbian groups saying 'Can you tell people you're heterosexual because you're giving us a bad name.'

The fact is that Hollywood, from as early as the sixties to the present time, has ghettoized cinema into the big industry, a marketing industry. In doing this, the audiences have lost touch with the aspects of film which were to be informative and educational and even spiritual.

I think American audiences are quite interesting in that they can handle almost any amount of violence, but the moment the violence becomes sexual violence it immediately becomes an issue.

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.

I remember the Time review [on the Hit and Run]said that there wasn't one laugh in it. And I had watched the movie 50 times with audiences, and it always played great. There was certainly a moment where you could tell the audience was like, "Wow, this is really getting weird."

Technology is in fact one of the most exciting things that's happened to museums today - but one has to be careful about where one uses it. For instance, the Internet provides an incredible opportunity. It is a way for us to reach audiences around the world and further our educational mission.

Odds are you’re going to like this lively spin on the true story of six MIT mathletes who broke the Vegas Bank. It’s a kick to watch Kevin Spacey and a gifted young cast use smarts to deal audiences a winning hand.

While acting with Amitabh Bachchan, the legend of Hindi cinema, and superstars like Shah Rukh Khan, Ajay Devgn and Akshay Kumar, I observed how they interpret cinema and make it an experience to cherish for their audiences.

Some people think big audiences are crass and that, say, a comedy that appeals to a wide audience is pandering. Other people would argue that you could say that about Moliere.

It amazes me that filmmakers will still film, and audiences will still watch, relationships so bankrupt of human feeling that the characters could be reading dialogue written by a computer.

Comedians paint ourselves into corners all the time, and tastes in comedy change. The guy in 'The Hangover' was a really fun character to do, and it was easy to do. But you have to find other things because audiences will let you do that for a little bit, and then they're like, 'What else do you have for us, monkey?'

If a show is good, it helps people learn about themselves in some way and in some function. Whatever the genre is, if it's executed well, audiences grow and learn from it, and that's where their passion and enthusiasm comes from.

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.

A lot of actors seem to dislike typecasting these days. The funny thing is, that's a fairly recent development. It used to be that actors wanted to be typecast so audiences could remember them and identify with them.

Lots will get on the mic and tell huge audiences to pray for world peace. And there's a scientific study that shows when everyone prays for peace, whole war zones on the planet actually cease fighting for that day!

Audiences make their minds up about people they see on screen, just like they do in real life. That's what fascinates me in film. You see a character and have to think: is this person different to what I assumed he was when I first saw him?

I have been a stalwart advocate for the legacy of Charles White. I have said it so often, it could go without saying. I have always believed that his work should be seen wherever great pictures are collected and made available to art-loving audiences.

I think when black performers performed in blackface, they were kind of taking back slave songs, but it was still a little bit iffy because they were performing, a lot of times, for white audiences who found it hilarious.

'Housefull' means a house full of masti, mazaa, vibrancy and energy, something that London stands for as well. Audiences have traditionally loved what the city and its people have to offer on screen in the film and we are taking that forward with 'Housefull 4' too.

I've been at this for 40 years. And, as an academic, I've been content with relatively small audiences, with the thought that the audience I long for will find its way eventually to what I have written, provided that what I have written is good enough.

Mulan represents honour and bravery, but, for me, it's also that she's willing to discover herself and willing to go forward. I think that's important to audiences too. Not many people would be willing to do that in the first place.

Pataas' will be an out and out commercial entertainer and there will a mind game. Audiences can't expect what will happen next.

I was so excited when 'Parasite' won the Oscar last year, and part of that was the shared Korean heritage and also it was just knowing that Bong Joon Ho made an incredible film and it didn't matter what language they were speaking, what country it was from, audiences all around the world responded to it.

Everything's always about page-turning, right? What's next? So, if you create questions for audiences, then they'll want to know the answer. Or they begin to formulate possible outcomes. That's the game we play when we're hearing a story unfold. That's part of what sucks us into a movie.

In the fact that 'Vogue' is someone that can help guide enormous audiences through this fascinating world, I would like to think we are as influential and actually are now reaching so many more people than we ever dreamt of back in the Fifties or the Sixties.

I was in Iraq, Afghanistan, Djibouti, Bahrain. The first year I went pretty much by myself. Then I went with General [Richard] Myers, head of the Joint Chiefs of Staff. The shows and audiences were amazing. You'll never get a better group of people.

RFK was a compelling figure because he was willing to challenge his audiences, and in turn connect with them in a unique way. Kennedy showed that our values define us and can inspire others to believe in the possibility of change and a better society.

I grew up at the time of Social Realism in Poland, when everyone was supposed to be 'writing for the workers.' But I soon became allergic to this. I have never written for audiences. I like it if they appreciate my music. But I would never change my style for them.

As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.

Everybody that you could name would join in our audiences from, Laguardia on down. Everybody came. Everybody came to the Cotton Club.

I like to be challenged as an actor, allowing myself to take up diverse roles. Even audiences get tired of watching their stars in similar roles over and over again.

Audiences and, to a large extent, critics who want less from theater than it is possible for it to give. If everybody's encouraged to want less, you'll end up with less.

I wrote a very bad play about Prince William when I was 23 in which he went off to the island of Iona to discover himself. It was very long, and audiences should probably be very pleased that the computer it was on blew up.

It's been interesting to see how similar audiences in the East and West are, actually, and how it makes you realize that when politicians emphasize the differences between our cultures, it's usually because it benefits them more so than us.

So many bands have the same performance-based videos, and it's so lame. I know bands whose labels rent a crowd, so they have these fake audiences that jump up and down trying to make it look like a pit or something.

I still can't believe that I was accepted by Telugu audiences because I don't know Telugu. Without knowing me, the Telugu people gave me their unconditional love.

To be a well-rounded individual and to know how to speak to both audiences of intellect and emotion means something to me. Not trying to be super woman, but I'd like to sit at both tables and on both platforms.

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.

I started doing pot jokes, and I noticed that audiences invariably love pot jokes. Even people who don't smoke pot think it's a funny subject.

The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually.

I've always been interested in showing our films to international audiences. The easiest way is through the festival circuit, a big marketing platform for films that aren't big enough to be in the mainstream race.