Barry Diller Quotes

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

I have no problem if you bought a Justin Timberlake ticket and you decide to go sell that ticket to somebody. We would first and foremost want to make sure that the first ticket sold, that the fan has a shot to buy that ticket.

It's hard to get concert tickets.

Everyone loves to criticize Ticketmaster, but the real asset of Ticketmaster is that it's the third-largest e-commerce site in America.

I'm very much against the secondary ticket market. I don't know anyone who isn't.

You used to queue for three days and two nights for tickets for Rubinstein. People stayed in the queue for the whole day.

The history of the ticketing business was about barriers to entry, which kept Ticketmaster protected. That has changed.

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.

Recently, I went to a disco with friends, and all the young people were saying, 'Dudamel, we want to go to your concert, but it's impossible because it's sold out.' It's really amazing.

If it doesn't know what to charge you for nosebleed seats, your team sucks.

The great thing about Ticketmaster is that it's seen as the comprehensive site for ticketing, artist information, venue information. We're a marketing platform, not just a technology platform, and we're going to build on it.

Night tennis began at the United States Open in 1975 with certain stars trying to beg out and certain patrons trying to dump unwanted tickets on scalpers.

We have a lot of secondary market problems in the U.K.; it's really bad there. And lots of artists are starting to participate in it, because they put the tickets up at a certain price, then the tickets get marked up by the secondary sellers, and someone else gets twice as much as you.

Ticket sales will get higher the day after roasts.

I was in college starting in '95, and 'Rent' was the only show I could see - because if you waited in line and camped out, you could try to get the lottery tickets.

I remember, a couple of years ago I was playing my first headline show, and it was to 100 people in St Pancras Old Church in London; and me and my mum were like, 'We don't know 100 people, how are we going to sell these tickets?'

What I don't believe is that DVDs or HD broadcasts can be a substitute for the real thing.

We do a big business with our midsized-venue model. We don't need bands to be on the top-ten charts to make money.

A promoter needs to be in the e-commerce ticketing business. In a fundamental sense the promoter's job is to buy a show and go and market and sell the tickets.

There are a lot more variables with festivals than just playing in a venue.

Just because you sell millions of records it doesn't guarantee bums on seats.

I think live stuff is certainly stuff I enjoy doing. I do like performing for people and bringing it to people.

I rather like finding out instantly whether you've been successful or not. It's a cliche, really, but the fact is that every gig is different: it's a live event, and you're with a different group of individuals every night.

It doesn't matter if you load it on a DVD, if you videotape it, it doesn't matter. There's nothing more exciting than being at a live show.

I still believe in putting something out and not asking people to buy the record, then buy a ticket to my show and then buy a t-shirt and then a, like, copy of the show they just saw on CD. That's undignified to me.