Inclusive Entertainment Quotes

I think if you look at Hollywood as a whole and the type of content that they put out over the years, it's pretty homogeneous, right? They haven't done a really deep dive into a lot of stories of people of color. I don't want to say that there haven't been attempts, and there has been some great product that has come out over the years, but I think in 2016, we're in a world of struggle. It's not just about race, it's also about the LGBT community too and others.

I don't think there's been many chances for people to see a black, gay, pop experience and that's what I want to have with my shows moving forward.

It is my wish to delight all members of the family, young and old, parent and child.

I'm interested in putting something on stage that will have a very wide appeal without being condescending; that will reach an audience and make it part of the dance; that will get everybody in the theater.

I really wanted to make something that was exciting for everybody, that everybody could enjoy, that was upbeat and positive and that everybody can dance to.

I'm always a little skeptical when I hear people promoting a film and they say it has something for everyone.

Today, I am a touring standup comic who cannot stand up. Within three minutes, I begin to wilt, lose my balance, and topple over. I can tap dance and run in heels, but I need to use a wheelchair to navigate airports.

I really wish Hollywood would stop labeling movies, especially movies with predominantly black casts. Then, it makes others feel like, "Oh, well, that's not for me." At the end of the day, everybody understands love, loss, pain and heartbreak. That's not a color.

86% of its audience was made up of people of color. That tells you that the full potential of many black stars won't be realized until their audiences are fully integrated.

It's always been about when I do theater, the audience is just a viewer, not taking part in what's onstage. Whereas if you're doing stand-up, it's inclusive.

I'm not elitist. I like to do crowd-pleasing stuff which is a bit smart, but is just about belly laughs.

My girlfriend and I went to a dinner party the other night and we ended up playing charades. There was another couple there that was deaf. They were so good.

[Everybody Loves Somebody] one really loves both cultures, represents them in a very accurate, genuine, authentic, fun, fresh way, and it includes so many more people because it has that language aspect to it.

If you want more people to come to the theatre, don't put the prices at £50. You have to make theatre inclusive, and at the moment the prices are exclusive. Putting TV stars in plays just to get people in is wrong. You have to have the right people in the right parts. Stunt casting and being gimmicky does the theatre a great disservice. You have to lure people by getting them excited about a theatrical experience.

People with disabilities are the largest minority in the world, and we are the most underrepresented in entertainment.

We write for those who get the musical jokes. But for those who don't, there is always something else going on. That's why we have such a widespread audience.

There are so many urban pop ideas that are underserved, and I think Hollywood doesn't see us and misses the opportunity to integrate.

We live in diverse communities with all sorts of people from all sorts of different backgrounds. The more our entertainment can be a reflection of the world we live in, the better it is for all of us.

I want to make accessible movies for bright people, but I don't want to play games and be coy.

I would love to create a piece of theater that is devised by a company of actors and creators that I'd put together, and I'd love for it to be nonverbal so it's something that someone with any communication ability can enjoy.

I like to service the full audience of America, so I try to do things that are just real artistic, like when they don't have the most money, but it's a great piece of work. Then, there are big, fun comedies and big animated movies for kids. I want to do things for my nieces and nephews. Ultimately, we're trying to deliver something entertaining to an audience. As long as it can entertain the audience, and it makes me or my niece and nephew laugh or cry, then I think it's good.

It's cool to know that you're doing something that people of all ages can watch and enjoy, even though my bread and butter is a little dirtier. It's cool to just be involved in something that's that big and joyous and meant to make people feel happy.

That's what makes a good show. It doesn't target one group. It tells a story everyone gets.

I want to reach out and entertain people. I want people to come to a museum that have never been in a museum before. I want also to have enough art references in it that would satisfy the most sophisticated museum goer.

If you get too heavy with the nods and winks, people get a sense that they're excluded from something. If they're in screenings and everyone's laughing, and they don't know what the hell it's about, somehow you feel excluded from the party, or like you're not in the inner circle. As a performer, that's the worst thing you can do to an audience. It's fun, but you have to be very careful with it.