The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.
Audiences are very willing to be taken somewhere, and to ask an audience beforehand what it wants is probably, I think, a mistake. Much better you should tell them what you want and hope they agree with it.
Sometimes I know a film might not pull the audience to the theatres and have a great collection at the box office. But I need to do these films for creative satisfaction and give something different to the audience.
Intimacy comes from being yourself on the stage and making the audience feel, without trying, that you're sittin' down there with 'em, playing, and that can happen in a big hall, if you have a good audience that want to listen.
I firmly believe that emotions are universal, and I know that when they connect with the audience, it works. There is no such thing as an entertaining or a serious film; there are good films and bad films. Good films will always find a vast audience.
As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.
I think HBO seems to have an extraordinary clever knack of catching the pulse of its audience. It really, really knows its audience.
At the core of what I'm doing is a belief in the audience, a belief that populism doesn't mean dumbing down theater, but rather giving the audience a voice and a role in experiencing theater.
I'm comfortable having a specific audience to write to. I like the idea that my audience doesn't see what I do as controversial.
The audience too should be respected by being presented with a film as they remember it, and for those who have not seen it, as it was intended to be seen. Anything less is a degradation of the film and its audience.
...and as far as talent is concerned, there will be such an excess that our artists will become their own audiences, and audiences made up of ordinary people will no longer exist.
I'm always interested in audience interaction. Not so much aggressive audience interaction - I'm genuinely interested in how people see things.
I have spoken to expert audiences occasionally, but then no audience is expert over the whole range of things I want to explore.
What I prefer is an audience who listen. And are intelligent. Which I try and assume every audience is. And that if something goes wrong, it's generally my fault and not theirs.
When it's a moral grey zone, the audience has to think about what they feel and what they think is right or wrong. You want to affect your audience and make them think.
I like a movie that the audience actively has to participate in, and not just casually observe. Whatever my part in it, just as an audience member, I find that exciting.
By creating fantastic content and spending zero time on audience development, you are certain that you will not succeed on YouTube. You have to focus on audience development as much as you focus on creating content.
I find Washington audiences are basically the same as every other audience; they watch me and go, 'Who's idea was it to go see him? And is it too late to ask for my money back?'
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.
I'd say we do reach somewhat of a younger audience, but I think for the most part that younger audience is picking our music up from a brother or sister or even parent, who is turning them onto the band.
John Chambers: Target audience will hate it. Tony Mendez: Who's the target audience? John Chambers: People with eyes.
