Audience Quotes

After each performance of an Austin Shakespeare production, audiences are invited to stay for a ten-minute discussion of the work. And this tradition continues in our New York run.

It's not so much a question of whether we've shot it through 35mm or digital video; what is important is whether the audience accepts it as real.

I decided to try to make a show of my own where I could invite an audience to obsess about race the way I sometimes do. So it was an attempt to dig into the race and history in America, and to make it personal and dramatic.

It's interesting, for me sappy means sentimental and something that gets you in your heart, gets you emotional. That's what I mean. Also, of course, it means that I'm slightly setting up the audience that there's a bit of fun involved, as well.

People listen to the beat first. So if that doesn't draw people in especially with the audience I cater to, they're definitely about that production.

I would lose myself too much if I thought of myself as the audience.

Some movies I make for myself. I just sort of make them for myself. I do that sometimes when the subject matter is very sensitive and very personal and I really can't imagine I'm an audience.

There is a difference when you work with actors who have worked on the stage. When we're out there in front of an audience eight times a week, you can't do it on your own.

I really enjoy the pastiche storytelling of watching separate stories slowly collide with one another. The audience gets to participate in trying to guess and decipher how one story will connect with another.

There are a limited number of promoters out there who care about creating music. You rarely meet a promoter who's like, "I want to be responsible for the best shows, I want to make sure that these are the best shows these audiences have ever seen."

I valued the experience of making the recordings, and I value the performances contained therein, and I value so much of what they can represent. I also think they're a terrific listening experience. Putting them out this way was a way of trying to maintain and nurture the relationship with the audience and also shine a light on the recent past, because we are so apt to be forgetful as human beings that there was such a thing as a recent past. These are some of the reasons for making this record.

I think when you write an enigmatic character into a film, you have to have real confidence that the audience are going to go with it.

I was an adult and I was in the Edinburgh Fringe Festival. I was performing in this cave - they used to bury the plague victims in these caves underneath the streets of Edinburgh, when I got this weird cold sensation up my spine, it gave me this really weird feeling, and then I looked up and there was this white, sudden white shape, that just zapped from me and went straight to the light that was at the back of the room, and I just stopped cold and said to the audience, "Did you guys see that?" No one saw it.

We had Chinese artists that would put in elements for the Chinese audience like the calligraphy actually means something so the audience when they read it they'll understand. So there were definitely little things we were able to do that specifically leveraged the artists' talents.

Most writers are lazy intellectuals, and it's a goddamn shame because a writer with an audience has a moral responsibility to make readers think about the world in a different way than what they're used to. Why else would you pick up a book if not to inhabit another realm of existence for a while?

The films I like to watch are when they make it relatable to human audiences.

I find that, rather than the cities, I'm very lucky because the audiences that come and see me are very, generally speaking, truly kind, so I have a great time playing everywhere.

Look for the contradictions in every character, especially in your heroes and villains. No one should be what they first seem to be. Surprise the audience.

The audience seems hazy to me, shrouded in a veil through which I can't see.

Curiosity provoked me to lay a lot of our country stuff on our predominantly black audience and some of our black audience began whispering "who is that black hillbilly at the Cosmo?"

Songs give you incredible opportunity to convey a tremendous amount in a relatively short period of time. The first thing that John Powell, our composer, says is, "Is the song engaging you to tap your toe?" If you're not tapping your toe, it doesn't matter what you're doing in the song, it's not going to work. But, if you can get the audience to be engaged by the song, then it gives you the opportunity to accomplish so much, in a very concise way.

I'm interested in finding sounds and ideas that help bring the audience into the world that we [moviemakes] are all trying to create. Sometimes that's with synthesizers, and sometimes that's with French horns. I love using all of them, depending on the scenario.

I used to throw up before I went on stage, every time. Even though it's only 200 people in the audience, and a movie like RoboCop is going to be seen by many, many people, I know I'd be much more nervous doing a play than being on set shooting.

When you're on stage with an audience, the director's nowhere to be seen. He's onto the next job.

Most of the time when you do a job, a play or a film, you're wondering, "Will there be an audience?"

My plays are always involved with society, but I'm writing about people, too, and it's clear over the years that audiences understand them and care about them. The political landscape changes, the issues change, but the people are still there. People don't really change that much.

You make an open-ended proposition and the audience completes it somehow. That’s what you hope an artwork to be-a constantly living thing.

Any authentic work of art must start an argument between the artist and his audience.

I can change the arrangements on stage while I am playing or singing, doing signs to the musicians to change things because the audience is dancing or singing with us. That's the interesting part of the live show, actually, because everything is possible and everything can change.

There comes a point when you've exhausted your opportunities playing good guys. I've been around long enough, I think I'm entitled to explore a bit. But what I saw there was an opportunity to play a character different from what the audience's expectation was. A chance to take their crude experience of me - of my iconography, if you will - and turn it on its ear at an appropriate juncture in the film to be useful to the process of telling the story.

There is no reason why a joke should not be appreciated more than once. Imagine how little good music there would be if, for example, a conductor refused to play Beethoven's Fifth Symphony on the ground that his audience might have heard it before.

The performance group The Ant Farm redoing JFK's assassination in Dallas was an event that struck a chord with me, especially when one of the members said they'd only intended to do it once, but the Dallas audience insisted they repeat the performance.

I love audiences, but they're not there to drive the bus. Whenever you ask opinions or anticipate opinions you can get pretty terrible art, or non-art. You need a single guiding intelligence, even in a collaborative form.

To be honest with you, I don't know how even to articulate it at this point, because sometimes the real difference in the seasons perhaps will come in the way the viewership responds and the audience responds. The thing about the show is - we realign a lot about it once our audience watches it. We learn things that we can't even anticipate.

Maybe just as many women writers as male writers could be billed as the next great American writer by their publisher. Maybe book criticism sections could review an equal amount of female and male writers. Maybe Oprah could start putting some books by women authors in her book club, since most of her audience is women.

What I have noticed which I'm not nuts about that the trend that a lot of shows are hiring the American Idol type of talent without real training and real technique and I think that audiences are smart and sometimes seeing that things are not as high caliber as they were before.

Whatever the scientists may come up with, writers and artists will continue to portray altered mental states, simply because few aspects of our nature fascinate people so much. The so-called mad person will always represent a possible future for every member of the audience - who knows when such a malady may strike?

The life you live in front of an audience is like an altered state - it's not totally real. I'm always, even in the course of one day, trying to find ways to balance both sides.

A military audience is kind of weird. Pretty much how you would imagine a troop of males that haven't seen a female in a long time and have been stuck in a base camp in the middle of nowhere for too long without any alcohol.

Some writers take to drink, others take to audiences.

I played Thersites and I remember we were also doing some places out of town before starting our run at The Old Vic in London and we were at the Yvonne Arnaud Theatre in Guildford and I walked on stage and I've got an opening speech that begins: "Agamemnon, how if he had boils?" And I went on and said: "Agamemnon..." And a woman in the front row just went 'tut'. I thought: "I've only done four syllables, give us a chance!" I got one word out and the audience were already tutting. It was worse than any heckle I ever had doing comedy. So, I'll stick to gnomes.

I sometimes have to write for a while before I figure it out, pretend that I know what I'm doing, sort of like ad-libbing on stage until you remember your line - you hope you sound convincing to the audience. The key is to have enough material, enough threads, so that there's something that can be satisfyingly drawn to a conclusion.

As a late teenager, the punk movement pushed me further. In particular, the Clash, which happened to leak through the time of disco, showed me that there was this cross-cultural sound that could cut across genres and audiences. Like punk was to disco, rap music was a rebellion against R&B, which had adopted disco and made it worse.

I still love it, every day. I get up and I love going to work. I love seeing it all happen, and I admire the people that we work with. I just hope that the films will continue to entertain audiences, as they have done for 50 years.

I'm close to my audience. I think I have more tools in my box than other guys who might try it. Also, I know how to do this stuff. I know how to write and shoot and edit. I'm technically adept and that helped with the website. You need a big skill set.

I had invited 50 or 60 peers and friends, most of whom were parents, to see the film [Trust], and I asked about the last scene. It was interesting because it was split right down the middle, 50/50. About half the audience wanted it to end with the very emotional scene between Clive and Liana, and that feeling of realization and catharsis. And, the other half were adamant about keeping that last scene.

A designer…has the true responsibility to give his audiences not what they think they want, for this is almost invariably the usual, the accustomed, the obvious, and hence, the unspontaneous.  Rather, he should provide that quality of thought and intuition which rejects the ineffectual commonplace for effectual originality.

The fact that I do place music at the end of my films is not to accentuate the emotion. It serves an opposite purpose which is to remove them from the emotional space and allow them to enter a space of thinking, because I believe that when the audience is watching the film they're watching it with their feelings.

Many faculty retreated into academic specializations and an arcane language that made them irrelevant to the task of defending the university as a public good, except for in some cases a very small audience. This has become more and more clear in the last few years as academics have become so insular, often unwilling or unable to defend the university as a public good, in spite of the widespread attacks on academic freedom, the role of the university as a democratic public sphere, and the increasing reduction of knowledge to a saleable commodity, and students to customers.

I think the audience should take away that it's okay to be smart, it's okay to be funny and well-learned. You can be from academia and be funny; you don't have to be an idiot.