I had found English audiences highly satisfactory. They are the best listeners in the world. Perhaps the music-lovers of some of our larger cities equal the English, but I do not believe they can be surpassed in that respect.

I think that the quality of all bands is steadily improving and it is a pleasant thought to me that perhaps the efforts of Sousa's Band have quickened that interest and improved that quality.

America can well expect to develop a goodly amount of composers for she has a goodly number of people.

Any composer who is gloriously conscious that he is a composer must believe that he receives his inspiration from a source higher than himself.

From childhood I was passionately fond of music and wanted to be a musician. I have no recollection of any real desire ever to be anything else.

Is it not the business of the conductor to convey to the public in its dramatic form the central idea of a composition; and how can he convey that idea successfully if he does not enter heart and soul into the life of the music and the tale it unfolds?

I still feel the impulse to give young writers a hearing, and I believe I have played more unpublished compositions than any other band leader in the country.

Anybody can write music of a sort. But touching the public heart is quite another thing.

There is one thing that freezes a musician more than the deadliest physical cold, and that is the spiritual chill of an unresponsive audience!

I am happy now, to recall that I was no only his son but his companion, and whenever there was a hunting expedition or any other pleasure, I was always with him.

Remember always that the composer's pen is still mightier than the bow of the violinist; in you lie all the possibilities of the creation of beauty.

Sincere composers believe in God.

My religion lies in my composition.

The average music-lover hears only the production under prevailing conditions.

Grand opera is the most powerful of stage appeals and that almost entirely through the beauty of music.

The movements which I make I cannot possibly repress because, at the time, I am actually the idea I am interpreting, and naturally I picture my players and auditors as in accord with me. I know, of course, that my mannerisms have been widely discussed.

I had found English audiences highly satisfactory. They are the best listeners in the world. Perhaps the music-lovers of some of our larger cities equal the English, but I do not believe they can be surpassed in that respect.

I firmly believe that we have more latent musical talent in America than there is in any other country. But to dig it out there must be good music throughout the land, a lot of it. Everyone must hear it, and such a process takes time.

I have always believed that 98% of a student's progress is due to his own efforts, and 2% to his teacher.

No nation as young as America can be expected to become immediately a power in the arts.

I can almost always write music; at any hour of the twenty-four, if I put pencil to paper, music comes.

My success is not due to any personal superiority over other people.

Jazz will endure just as long people hear it through their feet instead of their brains.

The office of President is a great one; to every true American it seems the greatest on earth. And to me, as I was engaged in weaving a background of music for the pageantry of it, there came a deeper realization of the effect of that office on the man.

There is much modern music that is better adapted to a wind combination than to a string, although for obvious reasons originally scored for an orchestra. If in such cases the interpretation is equal to the composition the balance of a wind combination is more satisfying.

American teachers have one indisputable advantage over foreign ones; they understand the American temperament and can judge its unevenness, its lights and its shadows.

To the average mind popular music would mean compositions vulgarly conceived and commonplace in their treatment. That is absolutely false.

Composers are the only people who can hear good music above bad sounds.

Governmental aid is a drawback rather than an assistance, as, although it may facilitate in the routine of artistic production, it is an impediment to the development of true artistic genius.

I am happy now, to recall that I was not only his son but his companion, and whenever there was a hunting expedition or any other pleasure, I was always with him.

Remember always that the composers pen is still mightier than the bow of the violinist in you lie all the possibilities of the creation of beauty.

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.