Audience Emotion Quotes

Comedians like to see people smile. With acting, I love giving people a feeling, an emotion. I like to give people a feeling. When they come away from my scene, I want them to think.

I'm obsessed with audiences and obsessed with the journey that an audience goes on.

When scoring a film, empathy is the key. And it is just as important to use music to express the actors' emotions as it is to move the audience.

We, as film-makers, are privileged. We can make people cry or laugh. We can make them think and feel. It is a great privilege and a great responsibility.

To me, it's never about the trick. I don't care about how something works. I care about how people feel when they watch it. You know, that - that connection - that emotional connection is true magic.

As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.

If you care about the characters, then whatever scary thing happens to them, you feel it even more.

I think plot is very overrated. Plot is obviously necessary, but what I really care about is emotionally affecting the audience. Having a thought myself and then an emotional experience myself, somehow transferring that to the audience.

My most successful song was 'Language' and I think partly because it's a nice, dancey record, but I'll see people cry in the audience to that song, and that's so much more interesting to me than making someone just jump up and down.

There was so much emotional response to 'Dogfight.' You just heard the audience: They were so horrified. They were sobbing. They were joyful at times.

I have done comedy and now I did a negative role. So for future I guess I wanna do an emotional character and make my audience cry.

I call 'Mukkathe Penne' my first emotional hit because it's the kind of song that goes straight into the hearts of the audience.

I think a lot of audience members don't realize the part that they play in live theatre. The audience actually has a mood. Sometimes they're tired and bored, and we have to wake them up and engage them.

The difference between a theatre with and without an audience is enormous. There is a palpable, critical energy created by the presence of the audience.

I learn more from the audience than I can from anybody else. Not from what they write on the scorecards, but how they respond to the movie while they're watching it - where they laugh and where they react.

The audience should feel like voyeurs. Their response is absolutely crucial.

You can't control how an audience responds to something. It's up to them.

I don't mind playing somebody who's not likable, or makes the audience feel slightly conflicted.

If I'm able to catch the screening, there's a point in the film where, like clockwork, a portion of the audience gets really emotional and begins to cry. And that's very difficult to make happen.

And over the course of the last six years, as I've directed more features and commercials, I've become better at articulating exactly how I want the audience to feel.

I'm a good craftsman and I can have this particular intention: let's say, I want a photograph that's going to push a certain button in an audience, to make them laugh or love, feel warm or hate or what - I know how to do this.

I think Frank Capra was a much craftier filmmaker, a wonderful filmmaker. He had enormous technique, and he knew how to manipulate the public quite brilliantly.

Emotionally, light very much influences, I feel, the audience. It's not something that most audience members are conscious of, which is a good thing, because it means as filmmakers, we have the opportunity to gently control an audience into feeling a certain way.

I love hearing my audience breathe.

You know, we're not on stage, we're not doing a play, so we don't have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.