Audience Response Quotes

If we don't put some acting in a dance song, no one would be able to dance on it.

Economics is a subject profoundly conducive to cliche, resonant with boredom. On few topics is an American audience so practiced in turning off its ears and minds. And none can say that the response is ill advised.

I've had movies bomb with terrible reviews, I've had movies make a lot of money with terrible reviews, I've had movies get good reviews and make money. And I like it best when the movies do well and the reviewers like them.

Somebody with a billion followers can tweet, 'See my movie,' and it can still tank. Followers don't always translate into success because I think people are too savvy. When something takes off, it's because people are connecting to it - not because someone with a lot of followers says to care about it.

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!

After 'Superstar,' I was encouraged. I felt audiences wanted to be challenged.

You just have to be yourself and make music you feel from your gut, and hopefully, your audience will respond.

It's nice to get the feedback from a theater audience. It's a gas.

I feel lucky to receive such critical attention and praise when you're in a show that's going to last a month, it's just easier when audiences are more receptive. I've done two new shows this year, so I'm always excited to work on something a little older, traditional and structured.

You carry that through and adapt it to a camera lens, but you're quite right, you cannot be sure of what an audience is going to do. You don't know what's going to happen to the piece you're doing anyway. You don't know how it's going to be edited. There are a lot more unknowns in cinema. But that you have to readily accept. That's when, I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.

I don't think it's right to define films as commercial or art house. What's important is that a film evokes a certain emotion when it's being watched.

There is nothing to compare with the instantaneous feedback a singer gets from the people sitting in front of him. That is where it all comes together - all the rehearsing and working to get everything just exactly right.

You can't plan for people to like your movies. I knew that people were not going to run in droves to the theater for the 'In the Valley of Elah.' I knew they might not want to see it, but I still had to the movie; I felt very strongly about it. Wanting to keep telling a good story is what you want to do, a compelling story.

I want to do things that shock people. I think that persona attributes more to the roles that other people may consider me for, rather than the ones I consider for myself.

Violence and nonviolence are, after all, two different forms of theater. They both depend and thrive on the response of an audience.

Any film that exists that is thorough, you can't give it to an audience of one and have that be effective communication. Communication involves an audience of many that have a conversation, put it through the ringer, filter it and then a sense of it coalesces.

If a few people decide not to buy my album it's really not going to change my life that much.

We've been fairly eclectic in our time, and we did branch out. Whenever we got a little bit too far out, people started to moan and groan a bit.

I don't read the reviews, the blogs, or anything else. Instead, I feel the audience when I show the film.

It is a feel-good factor when you get an instant reaction from the audience.

Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.

I've had people come up to me after the show and say, 'Why did you not make fun of Pakistan?' People are actually upset you didn't talk about them.

I think what working in a short film online is that the response from the audience is immediate whether your short film or web-series works or not, it is immediate. You can see comments and you can also see how many people have viewed it.

When I was a kid, it was the attention I got from it, the immediate response from the audience, the thrill of being onstage. That's carried over into my adult life, I can't pretend I don't like the attention or whatever, but for me now, I've witnessed incredible performances that have changed the way I see the art form.

When you have a great audience, you can just keep going and finding new things.