Well, first of all, let me say that – let me remind your viewers that I am recused from this investigation, and what I said this weekend is not anything new.
The thing about good acting is asking, how much are you going to reveal and when should you let the viewers’ imagination take over?
I think most people who were involved with television will tell you, if given a season or given a 13-episode order and getting those episodes on the air, and if viewers don’t come, I think most people will tell you they’d walk away. They feel they were given a fair shake, and if viewers didn’t come, they didn’t come.
Morning TV is about habits. What you really need is for viewers to find you, get comfortable with you, make you part of their mornings. If you can make news, deliver things they value, you can be successful.
I think what I like best about, and what keeps me coming back to work in the Hallmark world is similar to what keeps viewers coming back… of all of the places to go to make believe in TV, there has to be one that’s a safe space, a happy place.
Most original viewers of the Mickey Mouse Club didn’t face the crush of family and social problems children have today.
Thru the auspices of the viewers who become – I think this is an import – in a democracy, become a working unit with law enforcement against the criminals.
‘Deadwood’ proved that viewers are smarter in terms of grasping intricate dialogue than they had been given credit for.
I feel like Drake saw that I was up-and-coming in the gaming scene, and he thought it would be a perfect way to just tap into another source of viewers by playing with me. He also might have just wanted to game. I’m not sure.
As an actor, you don’t want to know the beginning and end to your character’s arc. It makes it more fun. You’re not playing the end. You’re playing it realistically. You don’t know where this character is going to go and what’s going to happen to him, which just makes it more interesting for the viewers to watch.
But, in real life, I’m not a sex symbol. I’m popular with female viewers, but television is fantasy land. People watching don’t see the real person; they see a romanticised image.
I’m from a more rigourous journalistic background. If I say a car is good or bad, the viewers can trust the fact that I have spent all my working life reviewing cars.
The concept of doing holiday episodes is a huge part of what’s fantastic about doing TV. And viewers agree; you see the numbers going up for holiday episodes.
The whole purpose of filmmaking is to entertain the viewers and when it happens, it gives you a high.
Not a day goes by when we’re not grateful to see that viewers seem to be responding.
Content pertaining to LGBT community is something the Indian viewers have never been very comfortable watching.
Interviews, and hence interviewers, are there to help shed light, and to let viewers judge for themselves. We are not judges, juries, commentators or torturers – nor friends, either.
I find a lot of up-and-coming musicians I enjoy, present them to my viewers – and hopefully inflate the growth of these artists by putting them in front an audience that wouldn’t have been aware of them.
We’re going to develop – what we want to do is to provide the viewers with what they want from CNN and that is the news. So when people tune in, they’ll get the latest news, but they’ll also get the biggest story of the day in depth, as CNN does so well.
I’m always thinking about the viewers.
I’m not out to max my income. I think my viewers would call me on that right away if I did.
TV can keep you honest because the viewers really do listen. People who have succeeded in this have shown the audience how hard they work and that their reporting is really worthwhile.
In ‘Njan Prakashan,’ we set aside conventional definitions of a hero. Fahadh Faasil does not play a protagonist who wins all the time and you can see the character flee during fights. Such a hero is a rarity and the viewers could easily identify with him.
I always deliver on my promises, and I can promise that doing ‘Strictly’ would be as much of an entertaining laugh for the viewers at it would be for me.
One cannot take natural resources for granted just to entertain viewers.
A show like the ‘Only Fool and Horses’ Christmas special got 24 million viewers, so practically everyone in the country was watching. But of course it’s a different world now, with so many channels. And those kind of figures are really difficult to achieve.
For the broadcast business to be successful, viewers need to be not merely interested in our political melodramas, they have to be in an absolute state about them – emotionally invested in the outcome and frightened not to watch what happens next.
There’s a genuineness that I hope I offer to viewers.
We’ve seen other Internet people go to TV, and it’s bad because they take two months off to make a pilot, and their viewers have forgotten about them when they come back.
In our show you have to pay attention and know what happened before. I think it’s very intelligent entertainment. It makes demands of viewers that a lot of shows don’t.
Advertisers like shows that viewers like to watch live.
That’s why I love doing television because it’s something that fans and viewers can sit down each week and get to know your character and get to know the show and get to know what’s going on and fall in love with you all over again, like they did in previous shows.
Nothing demonstrates a celebrity’s basic drive for attention more powerfully than a willingness to check one’s dignity at the door, week after week, in front of millions of viewers.
In all my years in ‘Countdown’s’ Dictionary Corner, the subject most guaranteed to rankle with our viewers is the presence of Americanisms in the dictionary.
I do my own stunts. You see someone like Graham Norton would have had a stunt double, but no, I give 100 per cent to my viewers.
Initially my makeup for the character of Ramola Sikand in TV serial ‘Kahin Kisi Roz’ raised eyebrows of many who were of the opinion that my looks were too gaudy. But soon I was appreciated by the viewers as well as the industry.
Indian cinema is no more limited to audiences in India. We have viewers all around the world, and hence, understanding the global perspective is a must. Cinema Beyond Boundaries would get the viewers and the filmmakers together and would help us in serving them with good quality cinema.
But I will say this: In my humble opinion, knowing nothing about it, I do believe that they have remote viewers working on where Osama Bin Laden is. I absolutely, 100%, convinced of that.
I think ‘Trial & Retribution’ as a brand can go on forever. Its joy is that it has, to an extent, a formula, which gives a comfort routine for viewers. But we allow our directors total autarchy in putting their personalities on their stories.
My hope is to be a trusted utensil for viewers. Like, literally, ‘That thing works. I can rely on that thing.’
I think this is a sport where we can really challenge all of ourselves as baseball fans, as baseball players, even the casual viewers. It’s just good to think, What can we do that hasn’t been done?
Netflix sees people as users or subscribers or customers. Historically, networks have seen people as viewers.
What I look for in a project or partner is integrity and character; I love the concept of family entertainment and crosses over the generations, where you can sit kids with their grandparents and everyone has a good time. Those are the qualities that I want to bring to viewers.
‘MasterChef”s preliminary stages deliver just the right level of almost-drama for viewers feeling shagged out after a hard day’s fruitless existence.
I’m sure the hard-core feminist will say we’re trapped, but I think viewers see how empowered we are.
I’m so fortunate in my career to be able to share with viewers my travels and experiences with some amazing and talented people and to bring that inspiration to television, books, and the digital world.
I’m not chasing reality shows. Viewers want to see me and producers want me on their shows.
The success of ‘Rome’ was in making the history accessible and giving viewers everyman characters through which they can connect to historical figures. It stops the story from being too remote.
Both domestically and globally, news is breaking at an unrelenting pace. ‘Face the Nation’ has long been the place that viewers across the country rely on to make sense of it all by cutting through the noise to break down what matters and how it affects our daily lives.
I think ‘BB Ki Vines’ became popular because viewers could relate to it.
My performance, I believe, is about my duty to the script, and my duty to the story that we’re trying to tell, and I try to do that in a way that is true, in a way that’s going to hold up the script, and that’s going to be fun for the viewers to watch.
My very first news director said to me that it’s better to be hated than to have viewers be neutral.
How can educated and sophisticated viewers react so differently to a work of art? Is it just Kulture Klash? No, since most of the time there’s no Klash at all. On the occasions when we disagree, it may be because we’re looking for different things in dance.
Twitch launched in June of 2011, and our growth ever since has exceeded even my expectations, which were not small. A year and a half later, the community of broadcasters and viewers has multiplied hundreds of percent.
