You're not a slave to those test audiences.

I've heard people say, 'There are no bad audiences,' but that's just not true. There are people who just shouldn't be together in a room, who produce a really bad audience.

When you do a film in a foreign language, you know there's a cost in it, that you know, unfortunately, the audiences of foreign language films have not been cultivated. There's a market, but the market has been reduced, unfortunately, and you know that when you're making a foreign language film, you're making a choice.

Audiences respond in entirely different ways. One thing is unanimous - music binds us altogether.

I would tell filmmakers: 'Don't just be seduced by the same old, same old. There are interesting things you can explore that may get your film out there to audiences better than the traditional distribution mechanisms.'

I don't pay attention to target audiences and therefore I often hear that I am a ratings killer, somebody who fundamentally doesn't care whether one person is watching or an entire soccer stadium.

I would never inflict my bassoon on anybody really other than the long suffering audiences that come to the concerts of The Really Terrible Orchestra; which actually is really terrible.

I played few hero roles in the initial days of my career, but audiences loved me for my comic timing and, therefore, I later turned comedian.

You just have to ensure that you make good films because audiences today have become picky and smart, and rightfully so.

When the decades pass and you're working in this business, the audiences get older with you. That's the nice part about it. They're so supportive and so loving.

I have noticed a growth in demand from audiences to include more women of colour and women to be cast as significant roles in TV shows and movies.

Audiences need to keep demanding shows with strong female leads.

Audiences like to be made to feel that there is a world where things go right: where big emotions can happen and yet feel safe. This is why there is a constant tension in Hollywood between studios who want happy endings and writers who want to explore the human condition. There is a time and a place for both!

Since the goal of my programs is to show audiences how humor can both help them heal as well as deal with not-so-funny stuff, I decided to discuss the events of the previous week, the pain all of us were feeling, and how humor and some laughter might be beneficial.

'Rudhramadevi' is a film which falls into a very new genre. It is a historic and biographic genre movie. It should be called a bio epic. I am curious to see how the audiences accept the film.

Since most of our films cater to crossover audiences, I think it's time we make films for multilingual viewers.

I continue to write songs that are topically related to social, political and economic issues of our time, but I also recognize that onstage, I have a lot of fun and audiences have a lot of fun, so I'm trying to package the messages in music and sounds that are fun to perform and fun to listen to.

When you start using test audiences, it becomes more scientific than it is about the work itself, and that's boring.

Audiences change because life changes. Countries change geographically, climatically, socially and morally. Many things happen, and cinema, in a sense, reflects what's happening in the world.

I think, in any profession, what you fear most is not being able to perform, about not being able to meet new challenges. The fear of non-acceptance, particularly if in creative art. What happens if the audiences do not like you anymore!

Foreign audiences are used to seeing Mexico in other sorts of movies. 'Casi divas' is a step toward a more commercially successful cinema, without the violence, blood and exaggerations. The movie reflects a more human Mexico, while remaining a chick flick, although it is not a romantic comedy.

I am of the opinion that even if my role is merely 10 minutes long, it needs to leave an impact on the audiences.

I'm excited for the audiences to hear the title track, 'Cheers to the Fall,' plus 'Red Flags' and 'Rearview.'

Like Tamil audiences, the Telugus, too, are welcoming of novelty. The fact that 'Arjun Reddy,' which had no regular songs, became such a big hit, says it all.

From time to time there is a move to do a little less in the way of period dramas, but people rebel. Audiences say we want them. There is a big hunger for them. I don't think it's sentimentality or nostalgia, it's often that they are simply the best stories.

Films that score very high with test audiences generally tend to not be so great. But, there's a lot of money involved in making movies, and it's a way for people to reassure themselves, who have spent money, and it's also a way to work out how to market a movie.

I don't enjoy British shows as a rule because British audiences are strange.

A lot of gay-themed films are terrible. And mainstream audiences and the press aren't interested, understandably.

Audiences in mainland China know how to discuss movies.

Before the web and these highly focused entities, journalists got to decide what was important to tell their audience and educated their readers. Now, journalists have to try and understand what their consumer actually wants to read and what angle they are looking for in order to keep audiences engaged in a highly competitive world.

Audiences like to be challenged and to be actively involved and try to guess an outcome.