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.

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.