When onstage I always try to take my audience through as many emotions as I possibly can. I want them to go from laughter to tears be shocked and surprised and walk out the door with a renewed sense of themselves - and maybe a smile.

In Poland my audience is all women between 18 and 30. At U.S. conventions you have the fantasy and science fiction crowd. At Harvard you have an entirely different audience. It's so schizophrenic.

'Rocket Science' is really where I fell in love with filmmaking I think 'Camp' was incredible but it was so bizarre and I was trying to find my footing in this world where you don't have an audience for immediate validation.

The waltz can be sad and at the same time uplifting. You have to see life from both sides and the waltz encapsulates that. If you're in my audience you give yourself to me and the waltz will grab you.

In the West audiences think I am a stereotyped action star or that I always play hitmen or killers. But in Hong Kong I did a lot of comedy many dramatic films and most of all romantic roles lots of love stories. I was like a romance novel hero.

As an actor I've grown considerably. It's taken me years to get comfortable doing a romantic scene and dancing on stage in front of a live audience. I've really opened up a lot.

And even Moonstruck - for some reason the audience were just in the mood for a very romantic film because it's one of the few romantic comedies to be nominated for a Best Picture Oscar.

I'm a fan of daytime drama I totally get it. When we are doing scenes that are romantic or will get the audience riled up I feel like I'm a fan in the room going 'People are going to be so mad right now!'

If you look at romantic comedies as pieces of commerce the audience is looking for wish fulfillment.

I just have a respect for my audience. That seems to be pretty logical.

Second this epic tale allows the audience to actually listen to the Native Americans and receive their wisdom. Spielberg conveys the respect for Native Americans that is normally lacking in Western films.

I had found English audiences highly satisfactory. They are the best listeners in the world. Perhaps the music-lovers of some of our larger cities equal the English but I do not believe they can be surpassed in that respect.

I'm very conscious that I want the dance audience to respond and respect what I'm doing so I'm always very true to the music and I honour the music in the way I see it - I don't mess around with the music.

If you respect the audience enough they can take onboard many things.

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

No it's interesting to remake a film for the contemporary audience today. I think it's a good idea it needs to respect the original idea. Don't just take the title and change everything else.

Plus you know when I was young there was a lot of respect for clowning in rock music - look at Little Richard. It was a part of the whole thing and I always also believed that it released the audience.

Then if your movie clicks with real audiences you'll be sucked into some sort of Hollywood orbit. It's a devil of a place where the only religion that really counts is box office.

The audience that I try to reach are members of what I call the church alumni association. Now they are people who have not found in institutional religion a God big enough to be God for their world.

I have sung for Americans of every political persuasion and I am proud that I never refuse to sing to an audience no matter what religion or color of their skin or situation in life.

The relationship with a live audience seems to me to count for more.

As much as the mystery element is all a lot of fun when you do go to 'Edwin Drood ' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.

You can't be a casual observer of something humorous - you have to engage you have to find it funny for the relationship between actor and audience to work.

Royalties are not how most writers or musicians make their living. Musicians by and large make a living with a relationship with an audience that is economically harnessed through performance and ticket sales.