I'll be selling tickets for my next tour exclusively through Jonah Lehrer. Make sure to pay cash.
The only riots were the people trying to get tickets.
Upon its debut, The Room was a spectacular bomb, pulling in all of $1,800 during its initial two-week Los Angeles run. It wasn't until the last weekend of the film's short release that the seeds of its eventual cultural salvation were planted. While passing a movie theater, two young film students named Michael Rousselet and Scott Gairdner noticed a sign on the ticket booth that read: NO REFUNDS. Below the sign was this blurb from a review: “Watching this film is like getting stabbed in the head.” They were sold.
The humblest observer who goes to the mines sees and says that gold-digging is of the character of a lottery; the gold thus obtained is not the same thing with the wages of honest toil. But, practically, he forgets what he has seen, for he has seen only the fact, not the principle, and goes into trade there, that is, buys a ticket in what commonly proves another lottery, where the fact is not so obvious.
We try to exert a Ted Williams kind of discipline. In his book The Science of Hitting, Ted explains that he carved the strike zone into 77 cells, each the size of a baseball. Swinging only at balls in his "best" cell, he knew, would allow him to bat .400; reaching for balls in his "worst" spot, the low outside corner of the strike zone, would reduce him to .230. In other words, waiting for the fat pitch would mean a trip to the Hall of Fame; swinging indiscriminately would mean a ticket to the minors.
I have the greatest aversion to being a candidate on a ticket with a man whose record as an upright public man is to be in question--to be defended from the beginning to the end.
I COULD CARE LESS ABOUT CRITICS, LIKE I SAID THEY DONT BUY TICKETS.
I would still be reading out loud. I think that if you are any kind of an artist, then validation is just sort of... it can be a result, but you're going to do the work anyway. Because you're just wired that way. It's so engrained, it's such a part of your personality that you don't just stop doing it. Eventually I'll retire on some level, eventually no one will want to buy my books or a ticket to see me read, it's inevitable that's going to happe
I don't have a lot of recreation time. I've always been under the assumption that if you're selling tickets you need to work. The kind of success that's happened to me maybe only happens to one comedian every twenty years and so I'm on the road constantly.
I tell the audience every night, "I hope you didn't pay more than face value on that ticket, because we ain't worth more than that, and you ain't gonna get any more than that."
I got one of the five golden tickets to be a writer, and I take that seriously. I don't love my own work at all, but I love my own self. I love that I've been given the chance to capture the stories that come through me.
Early in my career it was very important that I gain the reputation. I haven't been on the road in two or three years, but when I say tickets are on sale, I know they're going to be gone, even if my movie bombed or my TV show sucked.
You can travel through literature, and you can expand your mind through literature. It's so cheap to buy that kind of ticket.
No one has to come see my shows who doesn't like me talking about white Christians. They are free not buy a ticket. They're free to leave at any time. So I'm not imposing anything on anyone. Therefore I feel free to cross the line.
If you want a commercial success - it's the confusion of commerce with art. A successful play is not considered to be the best written. It is the one that sells the most tickets. Those standards are destructive [to theatre].
I miss that moment when you're about to go through the tube turn-style but you put your ticket in the wrong way and then as you're trying to figure out how exactly to get in the damn station you hear a collective sigh of 40 people behind you pissed that you're slowing down the herd.
I'm starting to believe that part of the solution regarding the devices is that they have a role to play in engaging the customer and keeping our product in front of them during the pre-show. They certainly have a role to play in ticket sales. Inside the movie auditorium, though, during the feature presenation there's no place for them. Every single weekend two out of the top three reasons people contact us are: somebody's being disruptive, with a device most of the time, or a dirty bathroom.
Truth and understanding are not such wares as to be monopolized and traded in by tickets and statutes and standards. We must not think to make a staple commodity of all the knowledge in the land, to mark and license it like our broadcloth and our woolpacks.
I'm not a policy expert - I am only arguing that there is more to an education than an economic ticket.
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