A Quote by Albert Brooks

My audience has lots of people between 20 and 35, but there are always a few 60-year-olds, and it makes me happier than if everyone was 22. — © Albert Brooks
My audience has lots of people between 20 and 35, but there are always a few 60-year-olds, and it makes me happier than if everyone was 22.
I don't want the 35-year-olds in my audience to think of me as as 'pops' giving the kind of advice that only 65-year-olds can understand.
All my career I have done that, worked with talents, improving 19-year-olds, 20-year-olds, 17-year-olds, 18-year-olds.
With 'Stardust', I hope what I was doing is giving 30-year-olds and 40-year-olds and 25-year-olds and 60-year-olds a chance to get the same sense of wonder, the same feeling, the same magic, that they got in reading the classic fairy tales as children.
You don't have to patronize your audience, and you can mix art and commerce in a profound way. You can simultaneously play to the sophisticated, 60-year-old theatergoers and to 4-year-olds.
It is impossible to maintain civilization with 12-year-olds having babies, with 15-year-olds killing each other, with 17-year-olds dying of AIDS and with 18-year-olds getting diplomas they can't even read.
Investing in the market without knowing what stage it is in is like selling life insurance to 20 year olds and 80 year olds at the same premium.
We typically make movies that are geared towards 18-year-olds. The people who pay and go to movies more than two or three times are usually under 22, so I get how it works. I don't really want 18-year-old boys to find me that attractive, that kind of would creep me out at this stage.
There are too many 50-year-olds dressing as 20-year-olds.
In my experience, my music has drawn people of all ages, which is a real wonderful thing. And at my gigs you get everyone from six year olds to 90 year olds. And I find that really quite moving, actually.
As the population is, in general, aging, there is more interest in what a 50-year-old, a 60-year-old, a 70-year-old, an 80-year-old is like. And one of the things that just naturally started to happen as I got older - and I could feel younger people looking up to me in a certain way and wanting to know things that I knew - I got interested in the women, in particular, who were 20 years older than me. Because I understand in a way that I didn't 20, 30 years ago, how much they know.
There should be a certification process to suggest if a particular film is suitable for 12-year-olds, 15-year-olds or 18-year-olds. The same thing I think applies for the Internet.
In almost any change there is 20 - 60 - 20. 20% are doing the change and we need to stay out of their way. 20% will never get there (a large percent still go into banks to see tellers vs. ATMs). 60% are in the middle. I think you will always find some companies where the head of HR is not a member of senior management team (bottom 20% and some companies where she or he has always been (top 20%).
Taking Big Bird away from our five year olds, lunch money away from our ten year olds, job training programs away from our fifteen year olds, and college loans away from our twenty year olds is a disgrace.
There is something about the stage that makes it so much better than being in the studio. I always connect with my audience; a concert to me is a collaboration between me and the audience, and I love it so much.
I'm not interested in making a $60-million studio film with a bunch of 24-year-olds telling me what to do.
In high school, I taught dance classes for 3-year-olds up to 16-year-olds, so between that and some bat mitzvah money, I saved up a pretty good nest egg to move to L.A.
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