We're making this huge changeover from underground to more mainstream audiences. I don't know if we could ever repeat this type of feeling. We're really excited.

The audience that surprised us the most was definitely Paris, when we played there last. They were just incredibly into us and we weren't expecting it at all.

I think it would be very scary and very confusing if I didn't understand where people are coming from, but I've felt the exact same way for so many other bands, growing up. It's not really a big deal.

So I think it was a good thing It was a little surreal watching Leo scream 'I'm not going to die today!' with our music playing - that was the last thing on my mind when I wrote the song.

I think things can have more than one meaning and still connect with people. There's a lot of meaning to the title 'Music For People' and they're all true and they're all accurate.

You can lose people without them dying, and I have, from moving, from traveling. The emotion is real, it just doesn't actually have to do with death. I'm singing about what I know, and it's a song about longing for somebody who's disappeared in your life.

I feel that I want what allows me to reach the largest number of people as possible, and I don't feel ashamed of that. I think I'm the kind of artist that's meant to be on a major label because my music is different.

I wanted to do that again but, when I went to look for chants, I didn't want to do it in the exact same way.

We used to go and play shows in the south in front of two people and now every show we did was just great. The warm-ups, most of those weren't even advertised and most of them were sold out. I don't know what's going on, it's just so much different than it used to be.

I think stuff on the radio is mostly good, but it's just not what I'm into. I'm not into rap metal.

Just having the pain of being alive without anything else, whether it's good or bad. There's a lot of serious songs on the record, you know. That song is just about feeling like a fish out of water, feeling like you don't belong on the planet sometimes.

I need to think about 'Make sure you drink your water.' That's the kind of person I am.

I want to do a collaboration or some kind of side thing or some soundtrack work. Because I've been doing this for years and years. I'd like to just step out and try something different.

Sometimes you sing songs about the way you want to feel more than the way you actually do feel.

It doesn't really seem any different anywhere. I'd say it seems like we're biggest in Australia. It's just that we've always been this underground band and for some reason in the last month has been starting to go overground.

It definitely seems like we are connecting with people, which is nice, because I've had a lot of music do the same for me. It's not like I don't I understand why we get the reactions we do.

'Free' is more of that 'familiarity breeds contempt' kind of thing. It's about saying 'Wait, I'm longing for something more than I have and I don't know what it is that I want, but I know I want it.' It has nothing to do with what I'm going through, personally.

I didn't want the record to be cold and I don't think it's cold at all. I felt it was very people oriented.

It's a very nice thing to be able to give joy to people.

The two records are very different. I guess, on the second record, that's more where I was at. Its not that I'm more well-adjusted or anything, it's just that what I wanted to sing about maybe was more the way I wanted to feel.

I'm really happy with Elektra, I don't have anything bad to say about them at all. I always knew a major label was the right place for me to be. I never really had an opportunity to go to an independent label anyway.

I think any band we played with would be a weird match. We're on our own, a little out there, but it's a good thing. I think we're complimentary to each other.

At least the rap metal stuff is good, but it's not really my bag. I've been listening to the radio since we've been touring the past month, because we don't get it most of the time.

I don't trust the Bee Gee's because there's no way they could always be happy.

We were number one most added at radio, when the single came out and that's much different. It took like eight months for any radio to happen on the first record, so a lot more support has happened right out of the box.

We're making this huge changeover from underground to more mainstream audiences. I don't know if we could ever repeat this type of feeling. We're really excited.

I've never really had anybody close to me die. I think the song is about a feeling that I have that, it still applies. It's a feeling of longing, once again.

I need to reach a lot of people to sell records.

I guess lyrically they're similar because they're talking about escaping the kind of misery that likes company. 'The Last One Alive,' for me, is very simple. It's just about alienation, really, that causes anger.

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.