Audience Quotes - Page 2

You can't tell the audience — well, you can, but I don't like to tell the audience — that anything they're watching doesn't matter.

Dining at the rare reasonTo get between the circumstanceAnd start milking the Caesars For what enters the earsAnd is for their eyes to air and advise.

Storytellers think they're writing for the audience. They're writing, in a way, to hurt the audience.

You can't stumble into an adventure. An artist must dance, not walk, in order to inspire their audience. This patient audience who has witnessed all that you've ever performed. So don't be shy. Just dance. Set this scene into motion.

Audiences are craving intricate and intelligent stories that keep them on the edge of their seats.

One of the many innovations of modernism was the new demands it placed on the audience. Music, painting, literature, even architecture, would never again be quite so 'easy' as they had been.

Painting, by its nature, cannot provide an object of simultaneous collective reception... as film is able to do today... And while efforts have been made to present paintings to the masses in galleries and salons, this mode of reception gives the masses no means of organizing and regulating their response. Thus, the same public which reacts progressively to a slapstick comedy inevitably displays a backward attitude toward Surrealism.

I write for pages,get lost in the mezzaninehidden from stages.

Whatever you do for the purpose of impacting on others, no matter how little you think it to be or how little your audience may seem, it not only grows but it leaves a lifetime effect which sets you up on greater grounds of success more than you ever anticipated.

O for a Muse of fire, that would ascendThe brightest heaven of invention,A kingdom for a stage, princes to actAnd monarchs to behold the swelling scene!Then should the warlike Harry, like himself,Assume the port of Mars; and at his heels,Leash'd in like hounds, should famine, sword and fireCrouch for employment. But pardon, and gentles all,The flat unraised spirits that have daredOn this unworthy scaffold to bring forthSo great an object: can this cockpit holdThe vasty fields of France? or may we cramWithin this wooden O the very casquesThat did affright the air at Agincourt?O, pardon! since a crooked figure mayAttest in little place a million;And let us, ciphers to this great accompt,On your imaginary forces work.Suppose within the girdle of these wallsAre now confined two mighty monarchies,Whose high upreared and abutting frontsThe perilous narrow ocean parts asunder:Piece out our imperfections with your thoughts;Into a thousand parts divide on man,And make imaginary puissance;Think when we talk of horses, that you see themPrinting their proud hoofs i' the receiving earth;For 'tis your thoughts that now must deck our kings,Carry them here and there; jumping o'er times,Turning the accomplishment of many yearsInto an hour-glass: for the which supply,Admit me Chorus to this history;Who prologue-like your humble patience pray,Gently to hear, kindly to judge, our play.

LIZZ WINSTEAD Instead of Jon playing a character—the news anchor, one of the derelicts in a derelict world of media—Jon made a creative decision to take the show in the direction of the correspondents presenting the idiocy, and then Jon is the person who calls out the idiocy with the eloquence that the viewer wishes they had. And he did it in a way that’s not condescending, it’s not smug. It’s funny, it’s emotional, it’s calling out bullshit. So Jon became the voice of the audience.

Audiences will admire your character’s strength but connect with them through their weakness.

What’s the use of writing poetry for your peers? I don’t think I should sell my poetry to other poets. If that’s who my audience is, I’m dead, I’m not going to make any money.