A Quote by Vikramaditya Motwane

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. — © Vikramaditya Motwane
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.
We are in niche consumption mode, but 'niche' doesn't mean 'small' anymore. Niche can mean focused, and particularly with the Web, which is a global audience you can have something niche and still get 10 to 15 million views.
We are in niche consumption mode, but 'niche' doesn't mean 'small' anymore. Niche can mean focused, and particularly with the Web, which is a global audience... you can have something niche and still get 10 to 15 million views.
There was a notion that I could do only niche films like 'Yevade Subramanyam' or 'Krishna Gaadi'... I wanted to break that and draw in a larger audience so that next time I do a so-called niche film, more people might come out to watch it.
I don't think that my work appeals that much to the hard-core, avant-garde film audience. They appeal to people who teach film and those establishment figures on the East Coast.
In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.
Film used to have to be niche and find its audience in a little art house cinema, and TV had to work for everybody. And now it's kind of flipped where there's so many platforms that TV can be incredibly niche.
I think that because most films where there's a teenager, it's aimed at a teenage audience. Restless is - I wouldn't classify it as a teen film, strictly, but it's definitely a film that appeals to young people, but also gives them credit for their complexity.
The audience loves watching masala films, and I love to make what the audience likes. I also think it is easy to make a masala film.
The demarcation between an art house film and an entertainer has blurred, only because a larger section of the audience has accepted such realistic films.
I have been able to get a small audience. It's not the huge audience, but it's enough to make it possible to play. I appreciate that.
I don't only cater a film to the male audience but also the female audience.
Only a niche section of parents allow their children to take up courses on film and television.
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.'
There's actually a disdain for the conversation about audience in the art world. Artist to artist, if you say, "What do you think about audience?" they would probably say, "I don't think about audience, I only think about my work," yet the audience is such an important part.
As a filmmaker, I believe in trying to make movies that invite the audience to be part of the film; in other words, there are some films where I'm just a spectator and am simply observing from the front seat. What I try to do is draw the audience into the film and have them participate in what's happening onscreen.
If one talks to more than four people, it is an audience; and one cannot really think or exchange thoughts with an audience.
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