A Quote by Atul Kulkarni
India has a cross section of audience whose cultural levels are varied. So where there are takers for Dabangg,' there are also audience for A Wednesday' and Peepli Live.'
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I love my cross-sectioned, cross-cultural audience. Some of them are doing better than the average guy, but my audience has always been people who are struggling to stay in the middle class.
Mythologicals and historicals have always found takers in India. The audience identifies with them and they make for good family viewing.
Of course, you have to think of the audience. You cannot make an obtuse film that only appeals to a small niche section of the audience.
'Full House' was the first time I had ever been in front of a live audience. I said a line I had rehearsed with my mom, and they laughed. It was wild. To have that energy of the live audience was like, Whaaat? Feeding off that live audience was, to a 4 or 5 year old, a high.
We also knew [ me and Ewan McGregor] that, on a practical level, if there was going to be that much sex in the film [Young Adam] - which there clearly had to be because sex is the meat and potatoes of the thing - it had to be varied for the audience, because it's important to keep the audience living in it.
When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It's an extraordinary thing. It's wild turf up there.
I know 'Dabangg' has some pre-requisites. Every film has some requisites that you have to fulfill. I sat down with my writer and discussed what as an audience I want to see in the second part of the film. We worked towards that and we hope what we thought connects with the audience.
Once the audience has to use themselves to cross the distance to the character, that's what's really exciting. That's when it starts to be a discussion between the art form and the audience, and that's fun stuff.
When I started off in journalism, you knew there was an audience out there and that you wanted people to read what you produced. But it also felt like you had a limited ability to shape the audience, or to acquire an audience, for what you were doing. So you didn't really think too much about that.
There is a lot of anxiety in India about writers selling out to foreign audiences, but I’m neither flattering the Indian audience nor the American audience. I’m uneasily somewhere in the middle.
Once I'm performing the show, I think that hour show has a certain intimacy with our audience. And that intimacy is through the lens and the live audience is a witness to that, whereas the audience at home is actually the object of my efforts.
The great thing about a sitcom is that you're in front of a live audience, so you really get in touch with what audience reaction is, but also there are lots of elements of film that you're dealing with, and there's kind of a great boot camp or graduate school mentality to it, because you're going to suck.
The action genre is kind of designed for a young male audience. But we found on 'The Matrix' that we hit the Valhalla of movie making, which is the four quadrant audience - the young male audience, the older male audience, the young female audience and the older female audience.
A good stand-up, you lead the audience. You don't kowtow to the audience. Sometimes the audience is wrong. I always think the audience is wrong.
When you're dealing with a symbol in a realistic play, it is also a realistic fact. You must expect the audience's mind to work on both levels, symbolically and realistically. But we're trained so much in pure, realistic theater that it's difficult for us to handle things on two levels at the same time.
Radio helps DJs break into a whole different audience. Radio has so much power. And that's my mission: to not only break into the EDM audience, but to break also into the mainstream audience.
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