If you make a movie about Elizabeth I, how much of the dialogue is her real words? Audiences know when they go see a movie that it is fiction.

I make movies just as painters paint: I work where I can.

When a French book becomes an international hit it is because of the author and not because of the language. The same goes for movies.

The financing of my films has always been international.

When you create a movie, you create something in your image.

Today's cinema is a global art form, it is impossible to make movies for a market the size of France, representing no more than 4% of the world's total.

When Picasso painted in Paris, was he a Spanish or a French painter? It does not matter, he was Picasso, whatever the influences surrounding him. He simply chose Paris because it was the ideal place for him to sell his creation.

When Americans shoot movies they aim at the entire planet. When the French make movies, they aim at Paris.

I had to choose between American and British actors, and it didn't take me more than a second to decide: Russians are Europeans and should be played by other Europeans.

My way of remaining French was the financing scheme I used for Quest for Fire, with Fox funds, since it started as a 100% American production. The film was not in French and yet was French in style, reflecting my personality.

The French have got to understand that a film is so expensive that it can no longer afford to be regional or even national in scope.

The art of motion pictures is pictorial and language comes a distant second.

War scenes are less difficult than love scenes.

The world distribution of French movies is a laughing matter. That is a fact.

To do the writing, I have to have time to do research.

There is a broad cultural current that conveys the idea that a film is like a football team, it represents a nation, it is illustrated literature, filmed radio. These are outdated concepts, totally out of touch with today's realities.

British actors behave like Europeans; they are also extremely well trained.

If you make a movie about Elizabeth I, how much of the dialogue is her real words? Audiences know when they go see a movie that it is fiction.

America is the only country capable of producing national movies: its culture has become a global culture.

I think it is a mistake to identify a movie according to its language, as if movies were literature.

We're making a commercial Hindi film catering to all types of audiences.

I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.

Audiences always sound like they're glad to see me, and I'm damned glad to see them.

What I wanted to do was to get that sense of being in touch with this lost world while holding onto what draws readers and audiences there in the first place.

We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.

Sylvester has a great popular sense, as good as any writer I've ever worked with. He knows what audiences want to see, and what they don't want to see.

Phish and Dave Matthews really know their audiences and really treat them well.

We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.

Anyway, I collapsed in France in the middle of a tour. I hadn't been eating properly, I was getting very phobic about audiences, and I collapsed in pure fright.

Though I am still very vulnerable to audiences - and it happens all the time - where for some reason the energy doesn't connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

I don't pay attention to target audiences and therefore I often hear that I am a ratings killer, somebody who fundamentally doesn't care whether one person is watching or an entire soccer stadium.

I want to do what I want when I want to do it not be dictated to by audiences.

I also want to return to doing stand-up. I've become frightened of live audiences. This is a really telling sign that I need to go back on the comedy circuit again.

For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.

When audiences come to see us authors lecture, it is largely in the hope that we'll be funnier to look at than to read.

I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.

The difference between critics and audiences is that one is a group of humans and one is not.

Audiences like their blues singers to be miserable.

The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually.

Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.

Lenny Bruce is a very moral man trying to improve the world and trying to make audiences think.

Luckily, West End audiences seem to rather like very old people.

I lose tons of stuff on the cutting room floor. For Scary Movie 3, for example, we had a lot of Matrix spoofs, a Hulk scene, and some of that stuff just doesn't hold up - it's too much plot, audiences just didn't want to hear about it.

Audiences are the same all over the world, and if you entertain them, they'll respond.

I've always seen myself as one of those 'show people.' My earliest memories are wanting and needing to entertain people, like a gypsy traveler who goes from place to place, city to city, performing for audiences and reaching people.

What turns me on is to walk into a sold-out venue. The audiences are so much the same as they were in the '60s. It's just an amazing thing. I can't explain it, but I hope it never stops.

We want to create these dramatic situations, whether they are real or not, to entertain audiences.

I try to address my audiences intelligently. The man in the street counts, but sometimes he forgets that he counts.

Since the goal of my programs is to show audiences how humor can both help them heal as well as deal with not-so-funny stuff, I decided to discuss the events of the previous week, the pain all of us were feeling, and how humor and some laughter might be beneficial.