Andrew Stanton Quotes

We spend a great deal of time getting the fan to buy the ticket. Why shouldn't it be: 'Buy the concert ticket and bundle in the t-shirt, or join the fan club?'

There's been times where I sold the place out, and I walked in and the guy's like, 'Uh, ID?' 'No, you can't ID me, man. I just sold this place out.' People are just doing their jobs, but I think if you're working the door at a venue where there's a headliner, you should at least be like, 'OK, this is the dude.'

If you send out one coupon with a deadline of a week and another that must be used within the next month, you end up having more redemptions with the one week deadline. It's really amazing. With the month deadline you have four times as much time, but people tend to say they'll use it in a few weeks' time and then they don't do it.

The artist doesn't really think about consequences - he or she does the work, stands back and looks at and thinks, 'Hmm, that could have worked better like this.' But as a person who needs to sell tickets to do the next work, one needs to analyze how it does or does not hit its mark.

The future of advertising is the Internet.

Actually, we've done 75 of these shows and every one of them has sold out. But then we buy all the tickets.

With so much money invested in their most promising projects, Hollywood executives will understandably do everything in their power to make their products a success in the marketplace. Therefore, the most expensive films often also get the highest marketing budgets, and are slotted into the most favorable opening weekends.

Filling a theatre like the Olympia or Vicar Street on your own name is a very rewarding moment.

Big shows are more like events and small shows are more like traditional gigs.

After a month or so in St. Louis, we were looking around desperately for a way to draw a few people into the ball park, it being perfectly clear by that time that the ball club wasn't going to do it unaided.

It's show business. No show, no business.

The whole point is it's about getting as many people to come and see the play as you can.

We have not had a ton of innovation and marketing in the concert industry, much like the record industry. We have been a fairly old-school business compared to Coca-Cola and the big packaging/marketing companies.

I definitely enjoy doing big festivals and big shows.

I'm not supporting nor not supporting TV casting shows - there is no doubt they are created for financial reasons - but I don't have a problem with wanting to sell tickets, and if you want to do an arena version of a rock musical, you have to sell a lot of tickets to justify the cast.

The concert industry lags dramatically behind the great hospitality businesses out there, whether they're theme parks or hotels or sporting events.

Growing up, I played in different bands and did a lot of self-booked touring and traveling around, and my sister was driving us on tour, and we're playing for nobody and literally begging my friends that I went to high school with to buy tickets to our shows.

I recall us selling out L.A.'s 5,000-capacity Gibson Amphitheatre and flying straight to Germany to play a 300-capacity room where we'd only sold 120 tickets. This was when 'City Of Evil' was really taking off in the U.S., but it seemed like Europe was less interested.

In my business, the cheaper the ticket price the better. I'd love for more consumers to walk into an amphitheater, park, have a beer and eat a hot dog. There's no advantage to me to have anything but sold-out shows.

I know how to sell a fight.

Dave Matthews, Tim McGraw, U2, The Rolling Stones - there are a lot of artists selling out stadiums around the world that we work with regularly. And end up making most of our money with those artists.

Even the biggest bands - and I hate to break the magic - but even the band that sold out 90,000 tickets in your football stadium, they might come back two years later and do an arena. It still feels huge, but there's a difference - there's a big difference. And there's a big difference playing a 30,000-seat stadium and a 90,000.

Long before social media and even television, enterprising wrestling promoters wisely scouted and signed new stars that would not only help them sell tickets, but also garner publicity from mainstream sports media.

With Comedy Central, they produced it and did everything - I just had to walk up there and tell the jokes - whereas with Netflix, I was heavily, creatively involved, from the logo to the lighting of the room to selecting the venue to selling the tickets and promoting it.

The fans never gave up on CM Punk. If CM Punk wants to be part of 'All In,' he can be part of 'All In.' But I am not putting it on him to draw those 10,000 seats. If we did have CM Punk, we would not tell you we had CM Punk - unless we didn't sell any tickets.