I think that will be a lot of fun for audiences to get the same stream of consciousness that was going through my head at the time. It was very exciting to suddenly recall what I was feeling at the time.

Even if we don't know it or aren't aware of it, politics and philosophy are really what make our up lives.

It's hard to blame someone because they simply don't have time.

In India, one has to plan according to the monsoons.

They suggested I should introduce an element of reincarnation in the story. At first, I thought that was silly. But then, this whole time dimension began to fascinate me.

Conventionally, one looks at history as something of the past. But after Einstein, who knows what is in the past and what is in the present?

Eventually, the tribe developed so much confidence in me that they invited me to be their chieftain.

I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.

I cannot forget a conversation that I had with an elderly couple from the tribe. They asked me whether I would kill them after I had finished. When I asked them why they asked that, they replied, Because you white men always do!

When you look at our world, the truth is that we're all under the influence of politics.

I'm not a very serious person. You know how they say that clowns are very funny in public and are really sad at home? I'm really kind of stupid at home and more serious in public.

Sitting down to a meal with an Indian family is different from sitting down to a meal with a British family.

I try to address my audiences intelligently. The man in the street counts, but sometimes he forgets that he counts.

Making the City Of Joy gave me the best political education of my life. It became a wrestling match between an Englishman who had gradually ceased to be a Marxist, and a culture that was becoming more Marxist by the day.

I think the job of movie reviewing can be really tough. If a film has layers that need to be thought about, it's easy to get missed the first time around.

The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.

If the movie's well made and it's about things that count, people will ultimately see the depth in it.

I've never wanted to do something where I'd berate the audience.

If you spend a whole afternoon just eating popcorn and watching football, there's absolutely nothing wrong with that. But if that's all you do, you get swept along with the tide, without any idea of where you're going.

Good directing is about getting the performance to be just what's right for the movie.

The history of the white man in India really jumped up and bit me in the neck.

I think a film should have a gestation period of at least two or three years.

I like DVDs so much - it's such a better format than VHS.

I don't really say much about reviewers. It's a very tough job to get all of the depth of a movie all at once.

Much of Indian science seems intuitive and not bound by the rigid thinking of classical scientists.

I simply wanted to state that during this little slice of history, this is what happened and these were the good sides of it, these were the more dangerous sides of it, and this was the result.

Music is a very integral part of the film, but it will not be as full of music as a Bollywood film.

Indian culture certainly gives the Indian mind, including the mind of the Indian scientist, the ability to think out of the box.

I began to feel that, in a sense, we were all prisoners of our own history.

Very good coaches for ski jumpers stand at the top of the slope and watch the jumpers prepare, rather than standing at the bottom and watching them land.

I think that will be a lot of fun for audiences to get the same stream of consciousness that was going through my head at the time. It was very exciting to suddenly recall what I was feeling at the time.

Very good coaches for ski jumpers stand at the top of the slope and watch the jumpers prepare rather than standing at the bottom and watching them land.

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.