Audience Theory Quotes & Sayings

I always work on the theory that the audience will believe you best if you believe yourself. — Charlton Heston

I once taped a show in which a life coach discussed the concept of self-care - putting your own needs ahead of anyone else's - and the audience booed. Women were upset by the mere suggestion that they should put their needs before those of their children. I interrupted to explain: No one was saying you should abandon your children and let them starve, The life coach was suggesting that you nurture yourself so you'll have more nurturing to give to those who most need you. It's the airplane oxygen-mask theory: If you don't put on your mask first, you won't be able to save anyone else. — Oprah Winfrey

Tailoring the facts to fit one's theory constitutes neither good science nor good journalism. Rather, it is intellectually dishonest and, when published for consumption by a mass audience, adds up to propaganda. — Ward Churchill

It is frequently said that speech that is intentionally provocative and therefore invites physical retaliation can be punished or suppressed. Yet, plainly no such general proposition can be sustained. Quite the contrary ... The provocative nature of the communication does not make it any the less expression. Indeed, the whole theory of free expression contemplates that expression will in many circumstances be provocative and arouse hostility. The audience, just as the speaker, has an obligation to maintain physical restraint. — Thomas I. Emerson

It's a gamble you take, the risk of alienating an audience. But there's a theory - sometimes it's better to confuse them for five minutes than let them get ahead of you for 10 seconds. — Paul Thomas Anderson

I call it like the domino theory of reality. If you can go one step at a time and it seems to make sense, you can then take your audience into an area that is relatively outlandish. — Ivan Reitman

At Universal Studios, Marston had a hand in films like Show Boat, in 1929. He also helped get films past the censors, including All Quiet on the Western Front, in 1930. When Carl Laemmle's son, Junior Laemmle, took over Universal, he turned it into a specialty shop for horror films: Marston's theory of emotions lies behind the particular brand of psychological terror in Laemmle's Frankenstein (1931), Dracula (1931), and The Invisible Man (1933). Before Marston left Hollywood, he also worked for Paramount. For Dr. Jekyll and Mr. Hyde (1931), he tested audience reaction by strapping viewers to blood pressure cuffs while they watched the rushes.30 — Jill Lepore

They sat with it in silence for a while. Bosch ran it all through once more and couldn't knock it down. It was only case theory but it held together. It worked, but it didn't mean that it was the way it had happened. Every case had unanswered questions and loose ends when it came to motives and actions. Bosch always though that if you started with the assumption that murder is an unreasonable action, then how could there ever be a fully reasonable explanation for it? It was that understanding that kept him from watching and being able to enjoy films and television shows about detectives. He found them unrealistic in their delivery of what the general audience wanted: all of the answers. — Michael Connelly

Maddy once shared this whole working theory about professional men who spend the day building an empire and ego at work, then come home assuming they deserve the same status, despite the fact that it's a different audience. — Abby Fabiaschi

'Big Bang Theory' is not my kind of show. It's not my humor. I don't like multicam comedies. I don't want an audience to tell me when to laugh. — Zachary Knighton

I have a theory. An audience doesn't need to get wrapped up in blackness every time they see a Negro actor. And a movie doesn't have to be about race just because there's a Negro in it. — Jim Brown

You want people to think. You want people to be emotionally moved. And there's a theory behind that in terms of storytelling. It has been around for thousands of years. And that's where something like live theater or a live performance is something that is very valuable because you get instant feedback from your audience and you kind of know the things that work and the things that don't work. — George Lucas

I hope any poem I've ever written could stand on its own and not need to be a part of biography, critical theory or cultural studies. I don't want to give a poetry reading and have to provide the story behind the poem in order for it to make sense to an audience. I certainly don't want the poem to require a critical intermediary - a "spokescritic." I want my poems to be independently meaningful moments of power for a good reader. And that's the expectation I initially bring to other poets' writing. — Albert Goldbarth