The networks found themselves having to compete for an increasingly Balkanized audience.
I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative switftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.
You throw a perfectly straight line at the audience and then, right at the end, you curve it. Good jokes do that.
I thought, "If I could bring these characters [Wonder Boys] to life and lead the audience to react the same way I did, this could be a really special picture. " Then I read Michael's [Chabon] novel and got even more enthusiastic about it.
There is nothing more distressing or tiresome than a writer standing in front of an audience and reading his work.
My kids were always my test audience. I'd take home the dailies and show them what we'd been filming that day.
The producers felt that 24 would be good for the audience, to really get to know who these 12 and 12 are.
Audiences respond in entirely different ways. One thing is unanimous - music binds us altogether.
I don't want idiots in my audience. So if me coming forward with what my beliefs are is what you need to hear to not be a fan anymore, that's great. That means next time I show up in whatever said city, your dumb ass won't be there.
Usually, when we talk about creativity, it’s about self-expression, which is great, but for work to be art or design, there has to be someone on the other end. The audience makes the work come alive.
I heard John Wells say something really smart, many years ago. He said, "Assume your audience is really intelligent. Assume that they are really smart, and tell your story that way. " So, for me, it's about never assuming that they will go away because they're not entertained.
You know. . . sometimes I'll be looking out at the audience and I'll be in the middle of a song, and I'll just stop dead. I'll look out at them, and think what is this. . . There's one thing that keeps me doing it though, I really love it, I believe in it.
The thing about the Internet is that you can write something. . . for a very narrow audience and make a living at it.
The audience wants you present, not perfect.
The thing about a cartoon is, you can do whatever you want. The tightrope that we are walking on 'The Simpsons' and 'Futurama' is "How do you continue to surprise the audience, but make them good surprises?" Not every surprise is good, but you want to continue jolting people.
You can fool the eyes and minds of the audience, but you cannot fool their hearts.
I don't believe, in a show like ours, that you really want to see character growth. That's just my opinion. Maybe to a small degree, but nothing serious. To that end, it doesn't have the same importance that it would have, if you were on an hour-long show. I think an audience gets really hungry for a character to grow and change on an hour-long show, and I think I would be more antsy.
I'm more interested in pulling out strands of joy from both myself and the audience. I'm not saying the music or songs are "light," just that when they're performed with the correct commitment it's a source of real pleasure, for me anyway.
It's more and more difficult to get through to your audience with all of the clutter. This is a great way for Ace to get [its] message out.
I want to grow up with my audience. I don't expect to be getting through to the younger pop crowd. I learned that from Paul Simon.