Modern Audience Quotes

My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.

We don't have to make the bible relevant-it is-but we have to show its relevance. What is irrelevant, in my opinion, is our style of communicating it. We are tending to still use the style from 50 years back that doesn't match who we are trying to reach today.

A modern audience is capable of processing just so much information because they're used to visual media that's on overload.

Historically, diversity has been a real issue for superhero comics - so we need to do something about it, crafting strong, modern heroes for a modern audience.

I think the bar is higher these days in terms of audience expectations of authenticity.

We want to pull out songs from the American song book, and we want to make them palatable for a modern audience.

Modern audiences are so intelligent. They work at such a fast pace that if you don't give enough stimulus at a breakneck speed, they will become disinterested.

I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.

My problem is that the audience is more fiction-literate than ever. In Shakespeare's day, you probably expected to see a play once or twice in your life; today you experience four or five different kinds of fiction every day. So staying ahead of the audience is impossible.

With the blessing of social media and platforms like Amazon Prime and Netflix, you get this broad audience that I don't think we knew about when we were kids.

Most great plays of the past lose their grip on immediacy; on application to our lives right now.

We do not go to the theatre like our ancestors, to escape from the pressure of reality, so much as to confirm our experience of it.

I don't know anybody in the opera business who isn't worried sick about how best to reach out to underpaid millennials who were suckled on the new on-demand pop culture, which supplies them with cheap, unchallenging amusement around the clock.

In order to do a musical now, a style must be developed that works for today's audience.