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Audience Quotes

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Audience Quotes

“Often in my lectures when I use the phrase “imperialist white-supremacist capitalist patriarchy” to describe our nation’s political system, audiences laugh. No one has ever explained why accurately naming this system is funny. The laughter is itself a weapon of patriarchal terrorism.”

“Great lecturers seldom hesitate to use dramatic tricks to enshrine their precepts in the minds of their audiences, and at Yale perhaps Chauncey B. Tinker was the most noted. To read one of his lectures was like reading a monologue of the great actress Ruth Draper--you missed the main point. You missed the drop in his voice as he approached the death in Rome of the tubercular Keats; you missed the shaking tone in which he described the poet's agony for the absent Fanny with him his love had never been consummated; you missed the grim silence of the end.”

“I think there's a side of me that's trying to compete with Lucas and Spielberg - I don't usually admit this publicly - because I tend to think that they only go so far, and their view of the world is rather simplistic. What I want to do is take whatever cinema is considered normal or successful at a particular time and play around with it - to use it as a way of luring audiences in.”

“Aristotle writes that persuasion is based on three things: the ethos, or personal character of the speaker; the pathos, or getting the audience into the right kind of emotional receptivity; and the logos, or the argument itself, carried out by abbreviated syllogisms, or something like deductive syllogisms, and by the use of example.”

“The drama is not a mere copy of nature, not a facsimile. It is the free running hand of genius, under the impression of its liveliest wit or most passionate impulses, a thousand times adorning or feeling all as it goes; and you must read it, as the healthy instinct of audiences almost always does, if the critics will let them alone, with a grain of allowance, and a tendency to go away with as much of it for use as is necessary, and the rest for the luxury of laughter, pity, or poetical admiration.”

“I have a really good idea of who my readers are and always write with a sensitivity to my audience. I use the F word when necessary, but there are words I won't use, mainly because I don't like them. I don't write about body parts when I write about sex. It's not about the physiological, it's more important for teens to read about the emotional aspects. I do think there are times when self-censorship is important.”

“There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. But this would deny those of us who don't believe in censorship the use of the only counter-balance: the freedom of the press to say that there's anything conceivably damaging in these films - the freedom to analyze their implications. How can people go on talking about the dazzling brilliance of movies and not notice that the directors are sucking up to the thugs in the audience?”

“I’m honored that PBteen has seen me as someone who can help a broader audience understand the need to use recycled, repurposed and organic materials. Global conservation is a focal point of the capsule collection and it falls right in line with the change and direction I’m working towards, on a professional and personal basis. In collaborating with PBteen, we are creating a subtle and natural feel with this collection - something that has an authentic appeal for teens and their parents alike.”

“The beauty of shooting on something that's not in front of an audience is that you can just cut out the times you're laughing. You can cut to the other person and try to use that moment, right before you break. There's an energy to those performances. There's a reason people were laughing. There was something very special. That little extra something was in that line delivery or in that improv, so you try to use that stuff.”

“An actor uses his body as a tool and an instrument. In the same way a musician plays an instrument, the actor uses his body to convey feeling and emotion. An animator uses a pencil or a computer to create the same thing, the same exact way... An actor is taking words that are not his own, and he has to bring some kind of authentic life to those words. It's the same goal, to create this authentic life. Even if it's a drawing, or if it's a cartoon, you're still trying to create authenticity because, if the character emotes authentically, it has a power to connect with the audience.”

“I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.”

“I want to use film to tell stories that need to be told to spark discussions that will lead to change. I really want to see a change in the mindset of youth, how they see themselves and how they value life. Young audiences will be able to see themselves in this film and older audiences will gain an understanding of what their kids are dealing with on a daily basis. Kids discuss what they see on TV, social media, film so I want to create content that they will discuss and will change the way they think.”

“I've dabbled in running around on stage, and at certain times it's nice to step away from the anchor of the piano and use a handheld microphone and connect with the audience, but I think my soul as a performer is just a little bit more connected to the instrument. To just sort of sit and sing - that feels like the most natural fit for me.”

“My book, Oral History: Understanding Qualitative Research is about how researchers use this method and how to write up their oral history projects so that audiences can read them. It's important that researchers have many different tools available to study people's lives and the cultures we live in. I think oral history is a most needed and uniquely important strategy.”

“During part of 1941 and 1942, when the Luftwaffe was busy in Russia, the German radio regaled its home audience with stories of devastating air raids on London. Now, we are aware that those raids did not happen. But what use would our knowledge be if the Germans conquered Britain? For the purpose of a future historian, did those raids happen, or didn't they? The answer is: If Hitler survives, they happened, and if he falls they didn't happen.”