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I'll keep doing it until I die or the audiences die.
When I lived in London when I did 'Wicked' there, everyone told me the audiences might be much more reserved, but I found it was completely the opposite. They jumped to their feet sooner, even more enthusiastically than the New York audiences did, and they were just as warm and as enthusiastic and supportive as New York.
The Supreme Court is having a hard time integrating schools. What chance do I have to integrate audiences?
Nat King Cole
I don't think you can really make television based on what you think audiences want. You can only make stories that you like, because you have to watch it so many times.
There's a crazy, false notion that audiences are not patient or will not watch a story, that you have to put in a scare every ten minutes. But I always thought that was insane.
The good and wonderful thing about my whole career is that I've always felt that the audience, if I do it well, will track wherever I go, whether it's President or a lawyer or bad guy or good. All I have to do is execute the material enough where they buy into it. I've had the great luxury of the audiences accepting that.
I love making stuff. There's a joy in having the first molecule of an idea, then testing it in front of audiences at secret shows that people only know about the day before. I videotape those, study them, enjoy being in the character and figuring out the movie.
If you look at the big entertainment industry and their pursuit of the bottom line profits in exchange for producing content and distributing that content and marketing that content to inappropriate audiences, that's a problem for me.
Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.
The world is changing so quickly, and actors now have this huge platform of social media to interact with their audiences, but I choose not to have a social media footprint. I'm old-school like that.
Large audiences did not suit my low-key approach.
Acting is trying to be absolutely truthful; to get audiences to believe that you are a dean, when, actually, not only are you not the dean, but if you walked into the building they'd probably throw you out. That's very hard.
An illustration I use to get people to understand it is this: I'll ask major corporate audiences: Why don't you just take all your traditional beliefs about organizations, and apply them to the neurons in your brain?
Now an audience of more than 1 billion people is only a click away from every voice online, and remarkable stories and content can gain flash audiences as people share via social networks, blogs and e-mail. This radically equalizes the power relationship between, say, a blogger and a multibillion dollar corporation.
There are elements to the 19th century which just don't work for contemporary audiences.
I try to address my audiences intelligently. The man in the street counts, but sometimes he forgets that he counts.
Your lineage and surname become irrelevant after your first film. Audiences do not care.
You know what, I'm a big coward and I'm really afraid of live audiences.
Well, the coffeehouse audiences never know what they're going to get, and all the comics are different, as opposed to when you go to a club, and they're pretty much all telling jokes with set-ups and punchlines. Coffeehouse audiences are the most forgiving: They really listen, which is the best part.
I've always operated under the notion that audiences don't always know when they're being lied to, but that they always know when they're being told the truth.
All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.
Audiences don't ever disappoint me, in the sense that movies I feel really good about, they usually feel really good about too.
I listen to the audience and try and bounce with them. All audiences are different. But they are all homo sapiens.
I have spoken to expert audiences occasionally, but then no audience is expert over the whole range of things I want to explore.
Let's put it this way: art house theaters are vanishing. They have almost disappeared completely, and that means there's a shift in what audiences want to see. And they have to be aware of that and be realistic. It's as simple as that.
Martin Luther King, Jr.
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