Ticket Pricing Quotes

One of the Internet's highest-profile companies, Priceline once dreamed of transforming the way consumer goods are bought and sold by offering customers the chance to 'name your own price' for a variety of products, including airline tickets.

I want to know that I am putting 30,000 individuals in seats in arenas. That's my goal.

I just wanted to be in show biz. I wanted to make music and sing and dance, tell jokes and stories, make ya smile, make ya cry - and charge you $ 8.50

I think, in accepting the amount of money that athletes make, I think that fans accept that now. It's the nature of the beast; that's the way it is, so they understand it. All, I think, fans have changed - because the price of tickets has gone up so much - that they feel a certain sense of entitlement when they go to a game.

When I can control my own show, I want the price to be affordable so fans can actually see me. It's a challenge because I have to do a lot of navigating to make the production stellar but do it on a realistic budget.

Ticketmaster does not set prices. Live Nation does not set ticket prices. Artists set ticket prices.

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.

Why is it good for football to take the excitement away from fans by overcharging them for tickets to see their team?

I'm certainly not a Robin Hood, I'm not that way. I don't want to come through, burn everybody for $200 a ticket and then they can't afford to come see me again. Plus, I just don't think it's right. I don't think we need that much money. I just do what seems like the logical thing to do.

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.

Unfortunately, because the theater is always a poor relation when it comes to making the nut, it's not easy to get the audience in to see a play, unless you have a name that is recognizable, that the audience wants to see and is prepared to pay the $125 to see.

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

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.

I am particular about the seating of the audience - also about how much money they pay - but most of all where they are seated. If I am going to sing something intimate, who am I going to sing it to?

Comedy clubs are a bit more expensive. That's the problem with some of these places. But the flipside of that is, if you do too many shows for free or $5, then people don't understand why you can't fly to Milwaukee and do a show for a $3 cover. That won't even pay for my flight.

My average fan works for about $20 per hour, if they are lucky enough to have a job. And then factoring in insurance, taxes and such, they're maybe bringing home $15 per hour. If my tickets are just under $30, it took them about two hours of their life to make the money to come see my show. Why shouldn't I give them two hours too?

I tell the audience every night, "I hope you didn't pay more than face value on that ticket, because we ain't worth more than that, and you ain't gonna get any more than that."

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

I'm privileged to have had some success, but I've never forgotten what it was like to queue for a half-crown gallery seat for 'Oliver!' which is why I ensure that there are £20 day tickets for 'Miss Saigon' and that the balconies in my theatres are as comfortable as I can possibly make them.

In our business we don't mind if a price of a ticket goes down; our job is to get as many bums in seats as possible.

If the goal of the DOT's rule is to prevent companies from deceiving passengers about the total cost of their ticket, why is the department mandating that airlines hide the taxes, surcharges and government fees in the fine print?

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

With ticket prices, do you ask yourself, why I'm paying $70 to see the arts? You say, "No, that's what the symphony is costing me."

People need to understand. If they go to a show on Broadway and find seventy people working but only fifty spectators, how much would the ticket cost? That's what El Bulli's about. There are seventy actors who are playing for just fifty spectators. Is the price expensive? It's relative. How much does a normal dinner at a five-star hotel restaurant cost? Four hundred dollars. It's the same as El Bulli. But you can also think of it this way: How much would it cost to eat something that nobody else is eating?

I don't think people should be priced out of going to the theatre... But we have to recognise that it is a show business.