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Records have always been the most extraordinary form of time travel for me, and that's why it matters to know when something was circulated, and if it had an audience of five or 50,000.
Kickback is a police thriller which I wrote. I'm very proud of it. I did it in two parts for France because when I wrote it, there wasn't the audience demand for crime stuff that there is now.
There is a danger, if you cast someone who is 18, 19 or 20 to play 14 or 15, that very subtly, almost unconsciously, the audience is, "Oh, this isn't so bad."
In all my science fiction movies, I try to blend the familiar with the futuristic so as not to be too off putting to the audience. There is always something familiar they can grab onto.
In general, I always make it my mission to focus on the one person in the audience who seems to be absolutely miserable about being there and try to convert them.
One of the lessons that I've learned over the years is to that no matter what my feeling or opinion might be about a given film, once you give it to the audience, they own it.
You need an audience to help you figure out what's working and what's worth putting on your album or your special - or even just what's worth touring with.
I remember 9/11; we had 'Comics Come Home' about a month after those events. That night, even the comedians were concerned. Would the audience be ready to laugh? It was a release for everyone.
The response of teenagers to their idols is relevant. As an audience, they enjoy themselves, not by screaming with laughter, but screaming with screams.
And I think I'm an adrenaline junkie, and there's nothing that will spike your adrenaline more than sitting in a theater and listen to an audience react to something you've written.
The audience went from hating me to loving me to hating me to loving me. They probably would have f - ed me then rewarded me, f - ed me then rewarded me.
We had all week to rehearse. An audience would come in at the end of the week and we'd our little show. Most of the ad- libbing happened during the week on the show.
It was step by step that I earned my way into the lives and hearts of people by giving them recordings that I grew to love and as I found my listening audience also grew to love.
I'm just a singer/songwriter and entertainer and I miss people and the energy of the crowd. When I play live it's a lovefest with me and my audience. It's how I get my rocks off.
I mean there's still also an element of the audience looking for role models. In my day, when I started, if you were an action hero, you were a little bit of a role model like the person.
As a hero, you have to play it straight. The audience is going to live through you, so you have to be more neutral. They will be projecting their thoughts and their actions onto the main character.
When I'm working on a film, I think about how it will play with a tiny audience of friends whose opinions I respect, basically a 40-bloc radius from my apartment in Manhattan.
Ive found that if you just try to make the film you want, youll find the right audience. If you try to please everyone, youre going to make really boring films.
There are things which need to be shown in the trailer in order to let the audience know what kind of film it is that they're going to be expecting to see.
Here in the UK the audience immediately reacts and they get the fact that: "What would be the most annoying thing in the world?" A Chesney Hawkes alarm clock!
As long as I can do something that I am passionate about and that I can really enjoy and the audience can enjoy. That is where my enthusiasm comes from.
What I prefer is an audience who listen. And are intelligent. Which I try and assume every audience is. And that if something goes wrong, it's generally my fault and not theirs.
Politically, Donald Trump doesn't seem to care much about what he says. He gauges the effect. Sometimes, in the middle of a speech, he will change his direction if the audience doesn't like him.