A Quote by Max Greenfield

Pilots are so hard because you have to introduce all these characters, you have to hook an audience, and an audience has such a smaller attention span than maybe they used to have.
I don't think hype always works. It can get you initial audience, but eventually, it's your story, and the characters need to hold audience's attention.
If I can get the audience to connect with the characters emotionally - and they love who they are, they love the larger-than-life situation that they're in, but most of all get the audience invested in the characters - then I always feel like I can sort of put them in the most outrageous circumstances, and the audience is okay to go with that.
TV works at such amazing deadlines and the audiences you're catering to is a very different audience than the one that watches films as the attention span is less.
My brain has always been wired in such a way that I'd rather communicate to a smaller audience who really get turned on by what I do than meet a wider audience and give them milk.
Theatre is a more difficult visual medium than films. You need to hold the attention span of the audience without goofing up and be able to express yourself as vividly as possible.
If a movie has more characters than an audience can keep track of, the audience will get confused and lose interest in the story.
In terms of the pilot, you have to introduce a lot of characters in a very short period of time, and you have to paint with slightly broad brush strokes because you just need to give an audience an idea of who these people might be.
There is no such thing as an attention span. There is only the quality of what you are viewing. This whole idea of an attention span is, I think, a misnomer. People have an infinite attention span if you are entertaining them.
It's easier to interest a conservative audience in pushing the musical boundaries than to involve a young audience used to very noisy, assertive music in something like Schubert or Bach because the further back you go, the less bells and whistles there are.
Low lights signal to our senses that the workday may be over and it's time for sleep, making it hard for an audience to pay careful attention. When we stand behind a big wooden podium, it can feel as if there's a shield between us and the audience.
What's most important is to create an atmosphere that's real, providing characters the audience can root for. Once they become emotionally attached, that's the secret in building a show. The audience can see themselves in these characters, and they respond to the stories.
When you introduce a character and show him for the first time, don't show him fully lit. Don't show him one hundred percent to the audience. Show maybe fifty percent or sixty percent so the audience can fill in the dark spots.
Once I have a hook I think has potential - enough to spin out more than a hundred thousand words, then I start turning my attention to characters. Who are these people? Why did this thing happen to them? But the hook always comes first.
If I have a huge audience, I'd like a bigger audience; maybe slightly a slightly more illustrious audience.
The average human attention span was 12 seconds in 2000 and 8 seconds in 2013. A drop of 33%. The scary part is that the attention span of a goldfish was 9 seconds, almost 13% more than us humans. That's why it's getting tougher by the day to get people to turn the page. Maybe we writers ought to try writing for goldfish!
In a country where people's attention span is short and they are holding the clicker in their hand, and they got a hundred other options, you have to basically understand what the audience is responding to. If you don't, you're going to fail.
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