A Quote by Timothy Hutton

Even in the off season, people are streaming the show or buying the DVD sets, and new audience comes to 'Leverage' every year we've been doing it. — © Timothy Hutton
Even in the off season, people are streaming the show or buying the DVD sets, and new audience comes to 'Leverage' every year we've been doing it.
Even in the off season, people are streaming the show or buying the DVD sets, and new audience comes to Leverage every year weve been doing it.
Even if I'm doing a show and there's five people in the audience and the sound system is terrible - I mean, it's been a while but I've certainly done those kind of shows where it's just every conceivable thing is against you - you still have music. It's still something that's real whether there's five people in the audience or a hundred thousand people in the audience. And that's always been there for me.
We don't have an off-season. Every other sport has an off-season. It just goes to show how tough we are.
I was always kind of against streaming, but I've been traveling so much, and I usually carry a huge hard drive of digital music with me, but I haven't had time to deal with it, so I've been doing streaming. And I had this incredible breakthrough of weightlessness where I've really been loving streaming music.
Even when America's economy has been by all measures healthy and the unemployment rate low, some businesses suffer or fail and lay off workers. But nearly always, a simultaneous and even greater burst of new jobs has been created to offset the jobs lost - millions of new jobs every year.
Streaming is a really big market for me. We've been doing great in the streaming market, so it's not something I want to alienate at all. Streaming counts now. They're treating artists the way we deserve to be treated.
You can very often start a new season with a lot more viewers than you had, leaving off the season before. It's a chance to pull the show into a train station, stop the train, and let all these new viewers on, so you can tell a new story. In some ways, a second season is a chance to tell a brand new story that you can wrap up, at the end of it.
That, we encourage, and I think we're doing a pretty good job with the website and also the DVD, like the first season came out and the second season's being prepared now.
People get surprised when they see you out buying a DVD at Best Buy like somebody else should be doing it for you or something! They're like, 'What are you doing your grocery shopping for?' Well, 'cause I'm starving!
I've always been switching around the show to accommodate the audience, and you know it really makes it a lot more fun for me and keeps it fresh so that I'm not complacent with the same show every night and with every audience.
Every off-season you look at what you can improve on. So you come in for the new season fresh and ready to go again.
I think we can launch - successfully, high quality - around 20 original scripted shows a year, which means every 2 1/2 to three weeks you're launching a new season or a new show on Netflix meant to be for really diverse tastes all around the world.
I was doing Hamlet in the off-season, and I had a specific idea in my mind about what I wanted that character to look like, and because it's going to lead into the next year, I knew that it was going to have to be established somewhere in the show.
Well, people from the "me" generation use photography to show off what they are doing, to show the world themselves and their friends. Those sort of diarized accounts have always been there. But the phenomena of making those diaries public is new, isn't it?
When I started in television, it was brand new. It was the miracle over in the corner of your room. Now the audience has seen every story line. People have heard every joke. They can predict the plot almost before a show starts. That's a hard, sophisticated audience to reach.
If you ask me what I think people should be getting next season, I’ll tell you what I’d like them to buy—nothing. I’d like people to stop buying and buying and buying.
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