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.

I have always had a certain rhythmic approach to my work.

When I started out, I preferred to watch my films without music, as its presence tends to mask the underlying pace of the film. I felt I could feel the rhythm of the film better without music to influence me.

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.

I have been typecast in my career, although the type changes with the decades.

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.

I went on all over the States, ranting poems to enthusiastic audiences that, the week before, had been equally enthusiastic about lectures on Railway Development or the Modern Turkish Essay.

I don't think you can really make television based on what you think audiences want. You can only make stories that you like, because you have to watch it so many times.

Suddenly we saw that you could do plays about real life, and people had been doing them for some time, but they weren't always getting to the audiences. They were performed in little, tiny, theatres.

He learned through the way that my father and I felt about his songs, his country songs, that they were great songs. And then he went out and sang them for the audiences that we found, and he found a tremendous reaction to that.

The white audiences thought I was white, my features being what they are, and at every performance I'd have to take off my gloves to prove I was a spade.

I'm not Ang Lee who knows so much about western market and the taste of western audiences.

We have had to play some mighty tough audiences.

My mother was electric onstage, and I vividly recall the extraordinary power she had over her audiences.

I've been at this for 40 years. And, as an academic, I've been content with relatively small audiences, with the thought that the audience I long for will find its way eventually to what I have written, provided that what I have written is good enough.

But those audiences in Spain, they were just so stoned. I don't like playing to audiences like that because they just don't do anything. I'm up here with my band and we're working really hard and they are just stoned.

Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.

The relationship between the media owner, their relationship isn't strictly with people and audiences. It's also with advertisers, and that's the most relationship in radio; in fact it pays the bills.

For an actor, it's great fun to play one of these hungry white sharks. Audiences love to hate them.

You would give up your career if you lost your voice for good, or if the impresarios stopped calling, or the audiences stopped coming. But as long as those things are there, I don't plan to stop. There is nothing that makes me feel better than to be with my public.