Entertainment Strategy Quotes

You're dead if you aim only for kids. Adults are only kids grown up, anyway.

I changed my mindset and figured, Why not try to be really entertaining instrumentally?

I will say that Vertigo is an area of great interest to me. It is even less well tapped than other parts of DC, and could potentially offer amazing stories for our future television video game, digital and consumer products businesses.

I watch 'Electronic Boy' faithfully every week - not because I like the show but because I'm interested in where the smartest T.V. producers and directors are going, what direction they are headed in.

We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.

I'm very big on content. I kind of feel like content is king and will continue to be that, so I'm just going to give the fans what they want.

Years later, when I was working as a trolley wally in a supermarket, I tackled the boredom by talking to the customers in as many different accents as I could manage. I started with one that I didn't think would alert any suspicion - generic Asian - then moved on to Irish, Welsh, Australian and American.

You can't really tell what the audience wants but you can tell what will keep everybodies attention in the same place.

Our goal is to focus on the unique points of view of our show creators but make shows that have broad appeal.

Tom Jones is funny to me, man. I mean, he really tries to ape Ray Charles and Sammy Davis, you know. He's nice-looking; he looks good doing it. I mean, if I was him, I'd do the same thing. If I was only thinking about making money.

I am definitely not the first person with a sports program to have a Hollywood star come on, but I don't know of any that does it as a staple of the program, which is something we are trying to do.

I don't start my show at 200%. I like to go in slow, warm up the crowd, and bring them along with me. To hear everyone singing along is so great.

You only have to go hardcore humiliation on the first film. On the subsequent sequels, you can coast.

In the beginning, when I was doing my shows, I was incorporating a lot of Spanish, just trying to be a Latino comic instead of just a comic. Now I try to make the show as broad as possible... I don't want to alienate people. I want to make it so everybody can follow along and everybody can relate.

When I hired the first group of cruiserweights - which consisted of Dean Malenko, Chris Jericho, and Eddie Guerrero - I sat them down in my office, and I was very clear to them. I said to them, almost verbatim, 'You need to be my human car crashes at 9 P.M.'

My fondest memories were watching the Beastie Boys get prepped to come on stage. They had a lot of antics and they play a lot of basketball... then they were giving out cameras to the crowd, and performing from the bleachers. The most important thing I learned was that you control your crowd, not the other way around.

Vegas has the Whitman's Sampler of audiences. They come from all different places, so you have to do some crowd psychology. You have to find the heartbeat of the room. It doesn't shift my jokes, but it shifts my timing and my attention.

A lot of comics aren't their on-screen personas; Chris Rock isn't always ranting and raving. What I do is make myself this over-the-top character that people either find endearing or they think is a joke. Then I can do anything I want.

When comics are in the room, people have a tendency to try to make them laugh. That doesn't really make you funnier. It makes you a comic's comic, but you aren't going to get a fan base doing that.

What I tried to do is deliver movies that have worked for me more than once.

You know, a TV show is a slow build.

Entertainment works by withholding content with the purpose of increasing its value. And, when you think about it, those two are just vastly different approaches, but they can be bridged.

I would never watch 'Lost' on TV; I'd just wait until I could get at least five or six episodes in a row. Saved myself a lot of anxiety that way.

I always feel funny when I don't reveal things, especially to you [the press], who have supported us so much and are really the big reason we're here. But, we hold back information about the plot because we want to reward the fans for sticking with us, and that's so much fun. That's the funnest part of it.

It's all about surprising people, and you're not surprising people if you're making them laugh every five seconds.