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

I still that that movie-goers like the experience of leaving their homes and going to have a communal experience, especially in comedies or interactive things where you can get an audience reaction to.

But once we got them on its feet then they run themselves, unless there's corrections you have to make.

Definitely, it's a fear of failure that drives me.

Well, I don't look back and celebrate. I just always worry about the next one.

And usually the studios they don't want you to have credit for your movies because they want to take credit for the movies because if you get credit for your movies they've got to pay you more.

I only make movies I want to go see.

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

The whole world has changed after September 11th.

Sometimes we'll only get one script in a year that we want to make that we feel is good enough.

Dramatics are what keep you in the seats.

If I knew what makes a movie catch on then I'd make hit after hit.

In TV we've used something that I love... it's called process. I love process.

I love entertaining people and this is entertainment.

Because you can't do anything halfway, you've got to go all the way in anything you do.

What I do is try to stay away from the hot subjects.

Our military thought that they couldn't get to Pearl Harbor, that it was too long a journey from Japan to get there, and they proved us wrong.

If you have a crisis, whether on a ship or wherever, there are heroes who rise above it.

A lot of it had to do with when it's released and what's out in the marketplace, what's its competition.

We need a very strong military to protect the freedoms we do have.

Yeah sure, I'd love to have all my movies on DVD.

I just don't know what makes a movie catch on and other ones don't.

It's very difficult to release an X-rated movie.

I think we look to the military as something that protects our shores.

Although, I think you look back and you try to learn from your mistakes.

We know as filmmakers where you draw the line.

I like to make pictures about people who make a difference.

The director's who want to be innovative use the DVD as a tool to see what people have done in the past and you have other people who will actually take from better directors and that makes them better directors.

I make movies based on gut.

I mean if you put all of your eggs in one basket, boy, and that thing blows up you've got a real problem.

I don't make movies because I think audiences will want to go see them.

There are a lot of movies that inspire me to do what I do.

I love taking you inside a world that you're not apart of and showing how actually works.

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.