I've been playing with this idea in my mind that the hero's journey that we're all taught as screenwriters may resonate more specifically for male protagonists and maybe even male viewers.
If you look at who drives the box office numbers at these films, it's men.
Nine per cent of my viewers are men, of which the majority is, I think, 45 to 50. I like to tell myself it's just my dad watching.
Fifty one per cent of 'Time Team' viewers are not of my gender. And that surprised me, because I thought it'd be at least 60 per cent male.
A lot of guys I know loved 'Sex and the City.' They'll take it to their grave, but they watched every episode of it.
I saw a story in the Los Angeles Times that 40 percent of the viewers are men. It didn't really surprise me.
Oddly enough, even though our show is structured around women, our target audience is women, I get more calls from men every night than women.
The Russian male audience, they loved 'Knockin' on Heaven's Door,' and they like my comedies, but the Russian male audience is action, action, action.
I have never made a movie that's attracted a 14-year-old boy.
People come up and say, 'Hey, I know you!' They're middle-aged women and big burly guys. They say, 'Don't tell anyone, but I watch Felicity, and I think it's great.'
It's an entire industry focusing on young male viewers that want action and violence. They sell us something that isn't valid. They're selling films like a product.
One of the major demographic shares of people who watch 'Girls' are men in their fifties. Fathers watch it, maybe trying to figure out how to keep up with their 20-something daughters.
