You’ve got to keep your finger on the pulse of what your audience is thinking, and know what they’ll accept from you.

Very difficult to understand American audience, what they like, what they don’t like. Some movie I like very much, it doesn’t work. Some movie I don’t like, it gets big box office. Very difficult.

I usually don’t like to ‚spoon feed‘ my audience, because I grew up idolizing story tellers who tell stories using symbolism, so it was in my nature to do the same.

The duty of rhetoric is to deal with such matters as we deliberate upon without arts or systems to guide us, in the hearing of persons who cannot take in at a glance a complicated argument or follow a long chain of reasoning.

You can’t just ask customers what they want and then try to give that to them. By the time you get it built, they’ll want something new.

I have always enjoyed watching my songs make people cry.

We pay attention to every demographic in every country, so we’re going to focus on building things that teens are going to like, and we’re also going to focus on building things that other folks are going to like.

The art of acting consists in keeping people from coughing.

Tell the audience what you’re going to say, say it; then tell them what you’ve said.

When I make a film – I direct my own film, I write my own script – that’s what I want to hear from the audience. ‚Oh, thank you, Jackie!‘

As long as my music is real, it’s no limit to how many ears I can grab.

If you’re performing music that is not who you are or where you’re at, it is painful. It’s painful for the performer and for the audience.

There are some who speak well and write badly. For the place and the audience warm them, and draw from their minds more than they think of without that warmth.

Think about what people are doing on Facebook today. They’re keeping up with their friends and family, but they’re also building an image and identity for themselves, which in a sense is their brand. They’re connecting with the audience that they want to connect to. It’s almost a disadvantage if you’re not on it now.

I’ve never been one to sit back and go, ‚I’d better do what the audience wants me to do, because I don’t want to lose them.‘

You go to a festival, you know you’re not going to play all new material at a festival. The audience is not there for that. I’ve made that mistake, but you find out pretty quickly.

If you want to appeal to everyone, you can’t do a world tour and expect black people to show up at every date – when you’re in Australia, when you’re in Dubai, when you’re in Indonesia.

Advertising works most effectively when it’s in line with what people are already trying to do. And people are trying to communicate in a certain way on Facebook – they share information with their friends, they learn about what their friends are doing – so there’s really a whole new opportunity for a new type of advertising model within that.

I don’t believe that the public knows what it wants; this is the conclusion that I have drawn from my career.

What I’m hoping is that every album I’m going to do will give my audience something different, and that they’ll grow as I do.

If I tried to make a commercial album, it would be a complete flop. I have no idea what the world at large likes.

It is one thing to record an album but it’s a huge difference when people play it and listen to it and embrace it the way that I do. It has always been my dream to get my music out to the world and have people hear it.

If you check your ego at the door when it comes to comedy, you’ve got a pretty good shot at making a great movie that you can commit yourself to, you can jump off the proverbial cliff with, and have a great time, and the audiences respond to that.

I work hard for the audience. It’s entertainment. I don’t need validation.

But, the thing is, since I always had my own little shop and direct access to the public, I’ve been able to build up a technique without marketing people ever telling me what the public wants.

To the audience, it’s like I’m changing the subject every five seconds, but to me, my show’s almost like a 90-minute song that I know exactly. I wrote every note, and I know exactly where everything is.

If one plays good music, people don’t listen and if one plays bad music people don’t talk.

What was important to me was entertaining the audience, and whether that meant winning, losing, singing, or whatever it was on the live show we were doing every week, which was awesome, I was game for it.

Nothing feels better than going onstage and everybody is singing every word – and actually wanting to see you.

A film is sort of binary – it either works or it doesn’t work. It has nothing to do with how good a job you do. If you bring it up to an adequate level where the audience goes with the movie, then it works, that is all.

A person standing in front of an audience without enthusiasm for his subject and his actions is disconnected from his spirit.

The most miraculous process is watching a song go from a tiny idea in the middle of the night to something that 55,000 people are singing back to you.

My movies just kind of sneak up on you. I don’t have to worry too much about what everybody is going to say. Anyway, I really don’t pay attention to what the world says about my movies. I just care about what my buddies think.

We’re making the music that the people are asking us for.

I think that people are interested seeing me on the screen.

Phish and Dave Matthews really know their audiences and really treat them well.

I spend just as much time on how people hear my music as I do the actual music, no matter how long it takes. I’m such a visual artist as well that it always goes hand-in-hand.

But I think we’re also just talking about the literacy of the audience. The visual literacy of the audience. They’ve seen so many images now, especially here in the States. There’s so much to look at, to watch. So the visual storytelling literacy is harder to impress.

Stage actors are usually much more conscious of speaking up and making sure that everyone can hear in the back of the theatre; a film actor probably thinks of that a little less.

Figuring out what the next big trend is tells us what we should focus on.

I think if you make a good movie, people walk away arguing.

I would be a liar, a hypocrite, or a fool – and I’m not any of those – to say that I don’t write for the reader. I do. But for the reader who hears, who really will work at it, going behind what I seem to say. So I write for myself and that reader who will pay the dues.

And as a writer, one of the things that I’ve always been interested in doing is actually invading your comfort space. Because that’s what we’re supposed to do. Get under your skin, and make you react.

When you’re headlining, people are paying to come see you specifically. It’s a different kind of pressure, because you’ve got to deliver. You’ve got to give these people what they paid for. It’s a different mind state, a different type of mentality, but it’s honestly a pretty good problem to have, you know?

It’s simple: You get a part. You play a part. You play it well. You do your work and you go home. And what is wonderful about movies is that once they’re done, they belong to the people. Once you make it, it’s what they see. That’s where my head is at.

Your purpose is to make your audience see what you saw, hear what you heard, feel what you felt. Relevant detail, couched in concrete, colorful language, is the best way to recreate the incident as it happened and to picture it for the audience.

We think the Mac will sell zillions, but we didn’t build the Mac for anybody else. We built it for ourselves. We were the group of people who were going to judge whether it was great or not. We weren’t going to go out and do market research. We just wanted to build the best thing we could build.

I love being on stage, I love being able to tell a story, I love the fact that the audience listens and laughs at it. It makes me happy, and it’s what I live for.

I don’t know if I’m selfless – I still want to make a great record. I want to make a hit record. I want to tour; that’s not completely selfless. But the truth is I’m not interested in people coming to my show for me as much as I am for them coming to my show for themselves. That’s always been how I am.

I went on all over the States, ranting poems to enthusiastic audiences that, the week before, had been equally enthusiastic about lectures on Railway Development or the Modern Turkish Essay.

I learned how important it is to entertain people and give them a reason to come and watch you play.

I take a lot of pride in the work I do, because people pay to see me. They’ve got to get babysitters, park their car, get popcorn and candy. I’ve got to be conscious of that.

So when I speak in front of thousands, tens of thousands of people, I don’t really get nervous because I know what I want to say and I know what message I want to give.

When you make a TV show, they always say you’re a guest in someone’s home. Online, you’re a guest in someone’s face. So that’s why I try to make it sound and look and feel very inviting and attractive, because I know that I’m in your face.