Natsuo Kirino Quotes

I would not have so many scripts being driven by demographics. The play's the thing - not the 18-35 year old male age group.

Pantelion and Televisa can reach my core fan base better than anyone, and with the distribution expertise and brand recognition of Lionsgate, I know we can build on the crossover audience that we began to reach with 'Instructions.'

I'm not surprised that my books appeal to adults.

I'm not focused on radio or whether I'm going to get all the audiences... all I wanted were great songs that were universal to any listener - Black, White, Green, Yellow; any kind a age difference.

We're lucky in that channels like Science, Animal Planet and Discovery are essentially universal in terms of their appeal. If you wake up in Moscow and put on the Science channel, it doesn't feel like an American channel, it feels like their channel.

We pay attention to every demographic in every country, so we're going to focus on building things that teens are going to like, and we're also going to focus on building things that other folks are going to like.

Plays which are universal tempt me. 'August: Osage County' is a play which is relevant to the urban Indian set up.

I've always wanted to be a real universal artist, one that every type of audience could relate to.

In terms of target audience, who cares what a middle-aged guy like me wants; most mainstream are not catering to me at all.

It's very difficult to balance different audiences and talk to each one without selling the others short. There is no universal literature - or, if there is, I don't know how to write it.

A writer is justly called 'universal' when he is understood within the limits of his civilization, though that be bounded by a country or an age.

I think ethnic and regional labels are insulting to writers and really put restrictions on them. People don't think your work is quite as universal.

Science fiction offers an intensely bracing angle of view for writers to adopt, especially in a time of constant innovation and crisis, and it is a scandal that in 1999 so many writers have written it and continue to write it in obscurity.

I don't write for any particular kind of person.

That's what was so amazing about 'Mulan.' Here is this story with all Chinese characters, and yet so many people related to her character and loved the story. So I really think as long as you have a good story that relates to a lot of people, it doesn't matter what ethnicity it is.

Great artists have no fatherland.

What's interesting when you see 'Black Panther' is you realize it couldn't have been directed by anybody else but Ryan Coogler. It's a great adventure movie, and it works on all those different levels as entertainment, but it has this kind of cultural through-line that is so specific that it makes it universal.

'Grey's' has this universal, global thing to it. It works all over the world.

You gotta find that hook so everybody can grab on to it. So that you're true to the culture but, at the same time, how it relates to the larger tapestry.

My parents aren't the demographic for a lot of things I do. If I did a stand-up show, and I saw 62-year-old Pakistanis in the crowd, I'd be like, 'I'm gonna bomb.'

What I'm most proud of about 'Girl Meets World' is that it's going to appeal to all different demographics.

We live in a global society, and I don't think we can talk about, quote unquote, 'American themes' anymore.

Calling a book 'young adult' is only important in that it can help get a book to the right reader. After that, it's a useless abstraction and should be discarded.

A lot of British comedy feels foreign rather than feeling universal.

The power of literature does not lie in resonance with the particular but the way that the particular speaks to a broader, more universal truth.