What I worry about the most is the competition for young eyeballs. We have so many other competing forms of media. I don't take any audience members for granted.
My personal theory is that younger audiences disdain books - not because those readers are dumber than past readers, but because today's reader is smarter.
I don't know any comedian who tailors his act to his audience. Maybe people say they do, but I can't even imagine them.
I think it is important to begin with a statement in your speech that grabs the attention of the audience. I try to make my opening line 15 words or less.
We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.
The judge is forced for the most part to reach his audience through the medium of the press whose reporting of judicial decisions is all too often inaccurate and superficial.
When we started, we knew the show was going to be hit or miss, and we needed to find a core audience to really make us survive. And I think we've been able to do that.
Ratings have changed, viewer habits have changed and the options for the audience have grown enormously, but I don't think how you tell a story is fundamentally different.
Instinct taught me 20 years ago to pace a song or a concert performance. That translates into pacing a story, pleasing a reading audience.
It's so easy to manipulate an audience, but it's nearly always clear that you are being manipulated. I think even people that are not critically attuned are aware of cynical manipulation in film.
I think feature film can be quite conservative, because you have to now get audiences to come out, and it's quite a hard thing to do. Of course, television can be conservative too.
All of the sudden the audiences started getting younger and the spread of the attendance was really wide. I think it's as a result of the records selling more that they started following our careers.
I think ultimately audience members like to see someone controlling the quality of a film. A lot of films you see are made by committees and studios and producers.
Here's the rule that I set for myself, and I believe it - even on a show like 'Curb Your Enthusiasm': the more personal you are, the wider your audience.
I think the film is beautifully realised. His legacy as a journalist was recorded - as it were - well, and certainly the important issues of the '50s - or even today - are delivered and presented to the audience in a rather honest and objective way.
In this fragmented world, with such short attention spans, you've got a couple of episodes to make an impression. And if you don't, you start to lose your audience in a big way.
I like to stay within the context of the character's background. If he's a cop, I have to make sure the audience is convinced that this person, a cop, can do only so much without a gun.
For me, I like to have explosive moments, whether it is a particular movement itself in the whole sequence. I like to have shocking moments; for audiences to feel, like, 'Whoa!' It's always been my forte.
I know that when I make a record like The Delivery Man as a contrast to even Il Sogno, this is going to reach a wider audience, because it communicates in that very direct way.
My films have a bold interpretation. They are unapologetic about showing intimacy. Going by the number of people who come to watch my films, this is what our target audience yearns for.
From what I hear is happening, young Indian boxers have started to do well on the world stage and started to gain the attention of the general audience.
