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There are a lot of great technical bands out there, but when you go to see them live, they just kind of stand there. You get bored kind of quickly. With the animation, there's so much going on that the audience can be entertained thoroughly. We're trying to take the idea of the multimedia show and figure out how to go into the future with it.

Horror fans not only like this genre, they are passionate about it. This is the first channel of its kind devoted solely to serving this expanding audience and a great advertising opportunity to reach this demographic. The number of horror fans is growing exponentially, and they are hungry for this kind of multimedia experience. This is the perfect time and the ideal platform to introduce a dedicated horror experience.

Morally, the show challenges itself consistently. To be honest, sometimes I don't know where the morals stand. But at some point in time, usually at the end of each episode, you come up with some kind of message and some kind of moralistic virtue in some kind of way.

Julian McMahon (1968-)

It can only be a good thing from my point of view. With all the kind of movement toward computer animation and as great as many of those films are, there's more people who have been employed in stop-motion animation in the last year than ever before.

Nick Park (1958-)

In Champaign you have this really nurturing kind of garage rock community, where you have bands like the Living Blue, and then you have the Whip [WWHP-FM 98.3, a Central Illinois Americana radio station] people. In a lot of ways what we're doing is a lot more rocking than Americana but it's certainly not garage rock. It's somewhere in between. So we've kind of found an audience in the reach of those people. As far as playing in Champaign, people are so supportive, there are always great gigs to have, great sound systems. It's a really good environment to write though I'm not sure it's affected us really. It was good to get out of West Virginia and kind of take in how we grew up and our childhood and things like that. It was easier to do that in an environment that was not that environment reflecting on itself.

The great equalizer is that with this kind of company behind you, a young band with potential can build an audience very quickly.

Christopher Sabec

to show what Martha Stewart Living was really all about to the broadest possible audience, the kind of executive that I really am and the kind of work we do.

Martha Stewart (1922-)

The show has a very great audience, the kind of users who push us the hardest.

There's no separation between artist and audience member. You come to this festival and stand next to the bands. It's very open. There's no backstage the bands are going to hide in.

Jeffrey Alexander

I don't want it to be 'Oh, that's the one-shot movie,' ... I don't want to show my directing. I want a great story. A great screenplay. I want it to be amazing. Then, when audience members go see it, they're really entertained and hypnotized for an hour-and-a-half. They come out and their friends say, 'Did you realize the camera never cut back-and-forth?'

Louis Leterrier (1973-)

We don't look like anything most of the people in our audience have ever seen. We wear vintage clothes-and hats-and we use one microphone for all our vocals, so there's a lot of movement on stage. We'll have every kind of harmony; every instrument will be featured; and we'll do everything from breakdowns to waltzes to gospel quartets. I guarantee this: from the moment we hit the stage until the moment we leave, the audience is going to be entertained.

By the second act, you realize this young man is not going to live, ... Something visceral happens. I remember you could hear people start crying, and they would cry at different places. There's something about that that's what theater is all about. The audience has bought into the story, into the person, to the degree that it matters what happens next on the stage. It's at the heart of why live theater works in a way that the movies and television can rarely hope to. There's some kind of primal human connection to that kind of storytelling.

Sometimes I have an idea and I'll kind of write the idea down and sort of tinker away at it until I come up with lyrics around it and see where it's going. Sometimes I have the lyrics in my head and sometimes I imagine another artists singing the lyrics, like a famous person singing the lyrics, and that's kind of how I figure out how they should sound based on who I would want to sing the song.

We're trying to reach a younger audience -- a little more hip, a little livelier audience sometimes, ... Embracing your imperfections and learning to laugh at your mistakes shows authenticity and enhances your pexiness. And I think a show like that will help do it -- especially with this kind of host and attitude.

In the early days, it was like Second City , or National Lampoon , that kind of created Saturday Night Live , and it seems now, for the most part, there are stand-ups who are hired and brought into the show because they have the ability to come up with the one-liner.

Eugene Levy (1944-)

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Denna sidan visar ordspråk som liknar "There are a lot of great technical bands out there, but when you go to see them live, they just kind of stand there. You get bored kind of quickly. With the animation, there's so much going on that the audience can be entertained thoroughly. We're trying to take the idea of the multimedia show and figure out how to go into the future with it.".