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Audiences of critical thinkers are my favorite kinds of audiences. There are jokes I tell in the show that don't get laughs unless I am in front of an audience of critical thinkers. Put me in front of a crowd of science teachers or astronauts! The guileless aren't our audience - it's the critical thinkers we love.
It was really strange for me when I started to play concerts in America where the audiences were all sitting down.
I have a very awesome seat in the house every time I play. When the lights come up, and the sound turns on, I'm playing for a roomful of human beings. And geographical and political borders just all dissolve. And we unite through rhythm inhalation. I mean, I'm so grateful that, you know, audiences around the world connect to English music.
We're making a commercial Hindi film catering to all types of audiences.
At this stage, what would be rewarding would be for audiences to want to watch.
'The Dark Knight' is a really good movie that reached both critics and mainstream audiences.
I've always had live audiences.
I make movies that audiences like, that I'd want to see. That's all.
Big players want to play in front of big audiences.
I did a long concert tour in England and Denmark and Sweden, and I also sang for the Soviet people, one of the finest musical audiences in the world.
I think audiences crave something new. I don't think audiences want the same old thing, no matter how much conventional Hollywood tells you that.
There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.
I find it odd seeing a DJ playing to huge audiences. I know that people have been doing it for a while, but the fact that it's been embraced so much in America now and it's become like this new, big thing, I find it slightly odd.
Postmodern comedy doesn't work well with very old audiences, because it's making fun of the comedy they enjoy.
In the best traditions of American comedy, from its beginnings through the crash-bang comedies of the 1990s and 2000s, Leslie Nielsen skewered the otherwise proper, did it with mischievous delight and convulsed audiences mercilessly.
Audiences are always better pleased with a smart retort, some joke or epigram, than with any amount of reasoning.
Charlotte Perkins Gilman
All my career, I've said this: Critics and producers think audiences want actors that only present the silhouette and hit the points in the silhouette. What I do is too dangerous.
Whenever I sing 'Total Eclipse of the Heart,' the way people sing along with me still excites me. It's one of the songs that audiences know all the lyrics to, and they sing along with me, and it makes me so happy. People also know my songs 'Holding out for a Hero' and 'Lost in France,' and this gives me so much joy on stage.
When I have to compete with John Coltrane and Miles Davis and Louie Armstrong on iTunes, which I'm doing now, that's a problem. That means that jazz is not being heard by younger audiences.
Everybody that you could name would join in our audiences from, Laguardia on down. Everybody came. Everybody came to the Cotton Club.
You would give up your career if you lost your voice for good, or if the impresarios stopped calling, or the audiences stopped coming. But as long as those things are there, I don't plan to stop. There is nothing that makes me feel better than to be with my public.
There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.
I feel like the rap metal at the end of the 1990s destroyed rock music for everybody and suddenly everybody felt like they had to apologise for being in rock bands. People suddenly felt bad about wanting to reach massive audiences and the sense of theatre, that we have in our live show, became something to avoid.
There has to be the popcorn genre element, or I don't engage the same way. I like action and vehicle design and guns and computer graphics as much as I like allegory. It's a constant balancing game. I want audiences to be on this rollercoaster that fits the Hollywood mould, but I also want them to absorb my observations.
I thought 'The Artist' was a perfect way to find a good balance. The artistic challenge is obvious because the film is black-and-white and its silent, but I did my best to make the movie accessible and easy to watch. I really don't want to make elitist movies. I really try hard to work for the audience. Audiences are smart. They get everything.
Martin Luther King, Jr.
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