But you can't really know your audiences so well.

The present government is very insistent that business sponsorship should replace government sponsorship of the arts. Business sponsorship won't happen unless you make tax concessions, which they won't.

At the moment, in Britain we're facing such enormous cutbacks in education programs and music programs and art programs that you feel you are knocking your head against a brick wall.

An audience shouldn't listen with complacency.

If you don't get feedback from your performers and your audience, you're going to be working in a vacuum.

I know what I want at least, and the older I get I think I'm better at getting it out of players and singers.

I recently did a piece for the Boston Pops and John Williams, and I hope that it's as well a composed piece as I've ever done for any other medium or occasion.

If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.

The establishment in Britain is certainly against the arts and against education. If something doesn't make a profit, it's invalid, and art doesn't make a profit in that sense.

The demands are related to their questing of the best possible out of the people concerned. It's this going for the highest possible factor that I'm very concerned about.

I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.

I don't see how they can with most of my pieces, but I think it's unfortunate that they can through familiarity with flashy performances of a great deal of other music.

I'm not actually teaching any more, but I am writing pieces for schools all the time, and for kids.

But you can't really know your audiences so well.

I'm very interested, for instance, in music in education - getting young people not only to listen to, but participate in the music that I write. I consider this one of the most vital aspects of my work.

What they can expect always is that they're going to be made to think.

But when you get a bit older, and I hate to use the word, quite a bit more established, people take more notice and conducting becomes a great deal easier. You don't have battles like you had before.

If you aim at anything lower that is expecting your audience to be really alert and aware, then you're going to be caught out sooner or later as a composer.

Recently I've been participating in radio and television talk programs doing broadcasts and conferences, and shooting my mouth off and really going to town.

You don't underestimate either players or audience in any circumstances.

You can't pander to your audience. You might in the short term, but ultimately you can't hoodwink them, either.

If you dont get feedback from your performers and your audience youre going to be working in a vacuum.

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.