So anyway, I really enjoyed the European audiences.

The thing I hated about it was that you live in your trailer all the time and then they call you and you do maybe two dozen lines. Then they do that for three hours and you wait and wait and wait, and I don't like waiting.

There's nothing worse, I guess, than being black in an all-white church or being southern and being a liberal.

So I became a producer because I knew one of the reasons was they didn't do them the way I thought was right.

Sweden was very nice. I did a lot of television. I wrote, directed and was in a lot of television there.

I just did one movie and there was no career for me, anyway.

If it was Europe, I just picked a country that I hadn't been to, but I didn't try to check up on what was going on in the country or anything like that. I just went and had a good time and met a lot of very nice people who are still my friends.

I think for writers who write that kind of stuff, they want to make changes. Look at Kris Kristofferson and Dylan. I mean, whole generations come along liking that stuff and that's great.

When we did that kind of stuff our only rule was... Well, we didn't have any rules, really, but my rule, because I was the drinker of the group, was not at any time of the day before the night we're working.

I always liked circuses, so I would have enjoyed that.

Oh no, I'm not a historian or anything like that.

The movie wasn't a hit, although it did well in Europe for some reason.

People think I'm crazy because I travel too much, but I haven't been doing any of that lately because I got a little sick this year and I've tried to take care of it.

You see I have to be in the clinic every Thursday and it's in Phoenix so I have to fly down or drive down. It has to be every Thursday for this damn stuff they're giving me.

I used to not stutter any. Oh, I did when I was a kid, I stuttered, I had a bad stutter until I was probably between the second and third grade and a guy got rid of it for me.

I tell ya, I could have got some more jobs if I'd tried, but I went to Sweden instead.

Well, you'll find the most boring part of it is the waiting, at least if it's in films anyway. Television's a lot faster, but the product... I don't think it's as good as a film.

So anyway, I really enjoyed the European audiences.

Nobody heard records of you playing whatever the melody was on those low strings. It worked out good, you know, about 25 or 26 million records later. I guess it worked out alright.

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.

I want to keep audiences off balance, so they don't know who I am or how to take me. If I duck and weave, as Frank Bruno might say, I'll have a longer shelf life.