You've got to honor your relationship with your audience - that they sit down because they want to be entertained. And that doesn't mean you can't provoke them and antagonize them and challenge them in the course of the entertainment as long as you keep the entertainment part of the equation alive.

Relationship movies are often made for a female audience.

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.

One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.

I shoot people in a way that makes the audience feel equal to them. And it's hard to express and it's hard to execute but I think it works on every level - the choice of the material the choice of the actor my relationship with the actor and so on.

I also think the relationship I have with my audience is a lot more complex than what Hitchcock seemed to want his to be - although I think he had more going on under the surface as well.

Over the years I've been trying to build a relationship with an audience. I've tried to maintain as much of a low profile as I could so that those characters would emerge and their relationship with audiences would be protected.

Just me onstage with a mike having an intimate relationship with the audience. I don't get nervous for that. I just get excited.

The film depends on the audience's belief in this relationship.

When I play live it's a conversation that we're all having with the song and the audience... their response and relationship with the songs is as valid as my relationship with the songs.

It was great fun. We had gone on tour in between the sessions and reconnected with the audience and got a lot of energy back from them a lot of positive energy.

When the audience leaves I'd like them to feel positive when they go.

The dumber half of the audience - whether they're male or female and a lot of them are male - for some reason responds very quickly to the feminine voice. How can I put it? They kind of instantly react to the female voice in a positive way quicker than they would the male voice.

Politics is pop. Our job as comedians - especially me as a late-night talk show which is a broader audience - is to amplify what we think America is thinking.

Free speech is not to be regulated like diseased cattle and impure butter. The audience that hissed yesterday may applaud today even for the same performance.

Stadium rock and commercial rock are the opposite of what poetry needs. An audience of around 200 is ideal for poetry.

I'm perfectly happy when I look out at an audience and it's all women. I always think it's kind of odd but then more women than men I think read and write poetry.

You know in my music career there was a moment where the irony was just so heavy. There were people in my audience that were the reason I developed neuroses. These people that tortured my life were using my art my poetry as fuel for them to torture other people.

A poem can have an impact but you can't expect an audience to understand all the nuances.

There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to first of all the environment in which it's being staged then the audience the nature of the audience the quality of the audience.

I did not want to be a tree a flower or a wave. In a dancer's body we as audience must see ourselves not the imitated behavior of everyday actions not the phenomenon of nature not exotic creatures from another planet but something of the miracle that is a human being.

Nobody was listening when I learned how to play music. But there's something about being on stage talking to the audience looking at them and smiling that's always been difficult for me. I'm a lot more comfortable now but there are still moments of awkwardness.

Pop stardom is not very compelling. I'm much more interested in a relationship between performer and audience that is of equals. I came up through folk music and there's no pomp and circumstance to the performance. There's no like 'I'll be the rock star you be the adulating fan.'

I felt that the elegance of pop music was that it was reflective: we were holding up a mirror to our audience and reflecting them philosophically and spiritually rather than just reflecting society or something called 'rock and roll.'