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I began coming to Paris in the 1960s when I was told audiences here liked my work. More than 20 of my plays have been produced in Paris, and several have had long runs and have returned in revivals.
I think audiences will always like bad guys who kill for no apparent reason. We just like to hate them.
Film making is an expensive, as well as a serious business. We should be able to entertain our audiences, who are fully aware of what they want. Every filmmaker has a different point of view and presents facets of society.
My audience loves seeing me pump large amounts of money into action and sets. And it works. I'm not saying that films made within a budget are wrong. But when audiences come to see my film with their families, I guess they are spending at least 10 per cent of their monthly income. I don't want to cheat them.
The basic function of a comic is stand-up because it's so straightforward and simple. If the audience don't laugh, you didn't do your job. I've had some audiences where I didn't care if they laughed or not because they were either too drunk or stupid.
There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.
I think Japanese audiences are much more attentive than a London audience.
When you see the audiences and the smiling faces at the shows it really makes up for the work that you put in. I have a job I really love so whatever hecticness comes up - I'll just deal with it.
I don't underestimate audiences' intelligence. Audiences are much brighter than media gives them credit for. When people went to a movie once a week in the 1930s and that was their only exposure to media, you were required to do a different grammar.
I think the resolution involved in the high-def, Blu-ray image demands we pay attention to every detail to a level we've never seen before. The audiences have to believe everything they're seeing. As viewers, we're all so experienced and so much smarter than we realize. With Blu-ray, there will be less tricking of the eye.
We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.
When you invest in high-quality brands, it pays off with high-quality audiences and, ultimately, high-quality advertising rates.
Without the BBC, the proliferation of television and radio channels by the private sector would simply result in more and more channels, with tiny audiences, all seeking to do the same thing. The future would be one of fragmentation - fragmentation without either plurality or diversity.
In the West, audiences think I am a stereotyped action star, or that I always play hitmen or killers. But in Hong Kong, I did a lot of comedy, many dramatic films, and most of all, romantic roles, lots of love stories. I was like a romance novel hero.
Films that score very high with test audiences generally tend to not be so great. But, there's a lot of money involved in making movies, and it's a way for people to reassure themselves, who have spent money, and it's also a way to work out how to market a movie.
American audiences tend to underappreciate the British, but 240 years ago they were us: They were the most powerful nation on Earth. Their mercantile empire spanned the planet. They had the most potent and experienced army and navy the world had ever seen.
You know, the hard thing about audiences not liking what a character does is that they sometimes take it out on the actor personally. That's something that you know when you become an actor or actress, but it's always hard to deal with when it actually happens.
I would not want to be a part of any project that I feel would not work. An actor like me always wants to work to get appreciation of the audiences. And appreciation can only come if people will come to watch the film.
'Hotel Rwanda' is an American product, not a Rwandan one, made primarily for American audiences.
I'm just trying to have fun, and maybe the way I hold myself kind of freaks people out. I don't feel like an outsider, and I think my friends feel the same way I do. Now that we're playing to larger audiences, maybe we're weird to some people. But I'm trying to express what I am.
I've built a solid career there, but America's ten times the size. Now that we're onto the third record, I feel like the stars have aligned and American audiences are embracing my music even more.
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.
My mother was a children's librarian. I remember when traditional stories were revised for modern audiences until they bore only a nodding acquaintance with the originals, but were released as 'authentic Indian stories' when they were, in fact, nothing of the kind.
But you can't really know your audiences so well.
Peter Maxwell Davies
A. P. J. Abdul Kalam
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