If you've got a restaurant, you definitely want the line to be out the door the first night, but you're more interested in people continuing to come to the restaurant. And that's their outlook, a little bit. I think it allows for more creativity, in the process. It allows people to make interesting programming that maybe wouldn't have a place on broadcast networks, if you were just counting people.
The more channels putting money into quality programming the better.
I believe that the purpose of life is, at least in part, to be happy. Based on this belief, Ruby is designed to make programming not only easy but also fun. It allows you to concentrate on the creative side of programming, with less stress.
Now, the DJ becomes a star in itself because of the way he programs the songs with lows and then highs and then slowing it down. The big DJs, like Tiesto and Deadmau5 and all those guys, they are very, very creative.
Once you figure out what your own thing is it's all about trying to develop shows, programs that can, I guess, enhance what you already have and what you can add to Hollywood.
In recent years we've seen an explosion of creative programming, and I think it represents a third golden age of television because the creators have more control over the story. The audience doesn't care about the platform. They care about the content.
Our plan for Passyunk Productions is to make an impact in the film & tv world by leveraging our collective resources, telling great stories and creating smart programming told from a unique perspective.
After my show and others like it began airing on TV, network executives started to see that there was a market for outrageous, over-the-top content.
Even if you only have 30- or 40,000 people in the grandstands, if you put on a good event for TV and do the things that it takes to have a unique event, that is really what people want. They want unique things.
There's still too much filler, copycat programming that's out there. We work so hard to pioneer new ideas, and then those ideas are just regurgitated by other networks. That's not good for anybody, I think. That's not good for our business. That's not good for our audience.
Maybe if you and ten of your friends could pool your savings and borrow some money and actually buy some obscure station in Sonoma, and then take some chances and have some fun.
There is people who make stuff with words. There is people who make stuff with programs. And I really believe that that whole creative culture, people didn't realize how creative programming is. And anybody who's done it of course knows that not only is it creative, but it's incredibly absorbing.
It's the weird stuff that makes great television.
I'm not certain that the BBC can claim to be making a wide enough range of distinctive programmes to make the case convincingly.
Ballet in September used to be dead as a dodo. Now, with City Ballet's ingenious decision to give us four weeks of repertory in the early fall, having cut down on the relentlessly long spring season when dancers, critics and audiences droop on the vine, we wake up after the dog days of August with something to look at.
I was never as focused in math, science, computer science, etcetera, as the people who were best at it. I wanted to create amazing screensavers that did beautiful visualizations of music. It's like, "Oh, I have to learn computer science to do that."
I find that creative streak I think often leads in programmers to be good predictors of where culture as a whole is going to go. And that is where I think I've tried over the years to in some ways use my customers as a filter or a predictor of where technology as a whole is going to go. Or where the world as a whole is going to go.
