My approach is so simple every song I sing every story I tell every move I make must move the audience to laughter tears or inspiration. Otherwise why do it? It's the communication.

But if I can be convinced and then through the work that we do together the orchestra can really be convinced of the big sweep of that communication that the piece suggests then the audience will get it and it will be a good experience for all of us.

The thing I do really is a communication with audiences more than any achievement through records.

I love the rehearsal process in the theatre and the visceral sense of contact and communication with a live audience.

I'm interested in the theater because I'm interested in communication with audiences. Otherwise I would be in concert music.

I like to change characters and then slowly I believe the audience treat me as like an actor who can fight. It's not like an action star.

I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it but they're happy if they do get it.

What looks absolutely fabulous in rehearsal can fall flat in front of an audience. The audience dictates what you do or don't change.

You want to try and bring a character to life in an honest a way as you possibly can. It doesn't matter whether he's a doctor an actor a car salesman or a captain of a starship. If you can bring truth and honesty to that character then your audience will believe you.

Can you design a Rorschach test that's going to make everyone feel something every time - and that looks like a Rorschach test? It's easy to show a picture of a kitten or a car accident. The question is how abstract can you get and still get the audience to feel something when they don't know what's happening to them?