Non Technical Audience Quotes & Sayings

I've told Michael Jackson jokes. If you got really technical, you could say those are jokes about child molestation. You could, if you got technical. A lot of this is just selective outrage because honestly, the audience are the ones that tell us that something shouldn't be spoken. The audience lets us know. And I've never, in my almost 30 years of being a comedian, seen a comedian continue to tell a joke that the audience doesn't respond to. I've never seen it. — Chris Rock

Medical knowledge and technical savvy are biodegradable. The sort of medicine that was practiced in Boston or New York or Atlanta fifty years ago would be as strange to a medical student or intern today as the ceremonial dance of a !Kung San tribe would seem to a rock festival audience in Hackensack. — Lewis Thomas

Hope gets you through. — Susan Mallery

This book reminds me of James Gleick's Chaos. The ideas and stories in Loving and Hating Mathematics are timely, interesting, and sometimes even profound. The authors, writing for nonspecialists, take pains to explain technical ideas in nontechnical language, and the book should interest general readers as well as a large mathematical audience. — Steven G. Krantz

And then, even if I pulled all that off, if I took something that big out of my dream, it would drain the ley line, possible making Cabeswater disappear again, this time with us in it, sending us all to some never-never land of time-space fuckery that we might never escape from. — Maggie Stiefvater

My dissatisfaction with television as a medium has nothing to do with the audience or the fact that you don't require as much time to do it as you do a movie, but with its technical limitations. — Charlton Heston

The difference between this film [Your highness] and Pineapple Express was pretty much in the logistics of the technical ambition of the movie, and the size and scope of the movie. Pineapple Express was a great success, and that was something that we wanted to capitalize on, but we wanted this movie to be bigger, more adventuresome, bring a bigger audience to the movie, and challenge ourselves to do something new. — David Gordon Green

I think for most people, the audience probably couldn't tell the difference, but I know they can be better. And the people working know they can be more precise. I'm still doing another round of sound mixing and color timing, pretty technical stuff. I think the movie's really presentable, nothing was left out that would take you out of the movie. I just need to perfect the job and I still have two weeks to go. — Ang Lee

What are the butcherly delights of meat? These are not sensual but analytical. The satisfaction of scientific curiosity in dissection. A clinical pleasure in the precision with which the process of reducing the living, moving, vivid object to the dead status of thing is accomplished. The pleasure of watching the spectacle of the slaughter that derives from the knowledge one is disassociated from the spectacle; the bloody excitation of the audience in the abattoir, who watch the dramatic transformation act, from living flesh to dead meat, derives from the knowledge they are safe from the knife themselves. There is the technical pleasure of carving and the anticipatory pleasure of the prospect of eating the meat, of the assimilation of the dead stuff, after which it will be humanly transformed into flesh. — Angela Carter

I can skate beautifully. While performing on ice I always try to please the audience and to win as well. Being artistic is very important to get the audience on your side. As for a competition, you can't win without strong technical content. — Evgeni Plushenko

For the human mind is seldom at stay: If you do not grow better, you will most undoubtedly grow worse. — Samuel Richardson

In this information age, swords and knives are no longer the weapon of choice - words are
(The Nature of Cruelty) — L. H. Cosway

Basically, radio hasn't changed over the years. Despite all the technical improvements, it still boils down to a man or a woman and a microphone, playing music, sharing stories, talking about issues - communicating with an audience. — Casey Kasem

You can't have the space for prosperity and success when you are obsessed with security. It is not possible to obtain unwavering security - physical, emotional, or economic - by having money. Keep in mind that security, like success, can be defined in many ways. If you focus less on how much your financial assets are worth, and more on what a creative and well-balanced individual you can be, security will take on a new meaning. — Ernie J Zelinski

If you're going to make a film, and you're going to have dialogue, and you want to take the characters seriously, let's understand what they're saying. If there is going to be technical dialogue, let's render it in a way that the audience can understand it and expect that it's not going to be so far over their heads. — Graham Moore

GARDENS OR FIELDS? Craig Blomberg points out that in Matthew's parable of the mustard seed, the sower sows his seed in a "field" (agros, Matt 13:31), while in Luke the sowing is in a "garden" (kepos, Luke 13:19). Jews never grew mustard plants in gardens, but always out on farms, while Greeks in the Mediterranean basin did the opposite. It appears that each gospel writer was changing the word that Jesus used in Mark - the word for "earth" or "ground" (ge, Mark 4:31) - for the sake of his hearers. There is a technical contradiction between the Matthean and Lukan terms, states Blomberg, "but not a material one. Luke changes the wording precisely so that his audience is not distracted from ... the lesson by puzzling over an ... improbable practice." The result is that Luke's audience "receives his teaching with the same impact as the original audience."22 — Timothy Keller

I am crushed by your poor opinion
But will endeavor to carry on. — Amanda Quick

It's true that the audience gasped when Nina did her thirty-two fouettees. They began applauding when she was just half way through, so loudly that she couldn't hear the music and had to hope the conductor would simply follow her. With each whip of her leg she spun faster, beads of sweat flying, stinging her eyes - and yet she finished cleanly, precisely, and counted calmly to five before releasing the pose. Secretly, though, Nina finds it cheap, these technical feats. A cheap way to impress, nothing subtle or artful - just virtuostic display, demanding of applause and dropped jaws. Nina wants to do more than fancy tricks; she wants her body to sing, her eyes and her hands and the very angle of her head to convey every nuance of the music, and each facet of whichever character she is called on to play. — Daphne Kalotay