Being on Oprah? You realize that there are a couple of types of audience members. There are like the cult people in the audience who are just crying before she gets on. And then there are the people who are playing it cool. I definitely was somewhere in the middle.

I feel like my music is just an extension of my acting. I treat the songs like scenes that tell a story... it's very similar. My favorite thing is when cartoon fans show up to my live gigs! They are always the most kick-butt audience members 'cause they're not trying to act all cool like a lot of the music fans do! It's refreshing!!

If we just stick to one kind of music, our creativity is limited. We wanted to extend the audience for the cello, especially the younger people, and to show them how cool and how powerful and how diverse the cello can be.

I had a really great performance with Steven Tyler in the movie 'Be Cool.' I performed 'Cryin',' so we recorded the song beforehand. But I didn't get to meet him until I hit the stage with him, and we had a live performance with 30,000 people in the audience, and that was for the movie.

There's an audience out there for all these different types of things. Whether it's comedy, motion-picture drama, family movie or a cool, cutting-edge indie, it's nice to know that I can span all those different genres.

What's cool is when you're able to give your audience imagination and you don't have to cage them in like animals.

While the concert is instant communication with the audience, composing is a creative process where a song comes up out of nowhere and then transmits happiness to many, translates into money, fame, or whatever.

Social systems have values - arguments baked into their design. For example, Twitter's core argument seems to be, 'Everything should be public, and messages should find the largest audience possible.' Snapchat's might be, 'Communication should be private and ephemeral.'

With docs, there's often a very direct communication between the filmmaker and the audience. With narrative movies, we leave it a little bit more open.

Any film that exists that is thorough, you can't give it to an audience of one and have that be effective communication. Communication involves an audience of many that have a conversation, put it through the ringer, filter it and then a sense of it coalesces.

I don't want costumes and makeup between me and the audience - I want more direct communication. There's something for me about being honest on stage, and I'm at my most honest when I'm behind a piano. So I prefer my concert performances.

It still amazes me how many musicians aren't really interested in engaging with their audience at all. Alfred Brendel, a pianist for whom I have the greatest respect, has described performance as a sacred communion between the artist and the composer. But what about the audience? Music is communication, a two-way street.

Music is about communication, and the chemistry between an audience and the orchestra is absolutely essential; the performance does not exist in a bubble.

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.

I am oblique; I think that has to do with my own nature. I like trying to do things which work on many levels, because I think it is terribly important to give an audience a lot of things they might not get as well as those they will, so that finally the film does take on a texture and is not just simplistic communication.

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

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

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.

What I try to get beyond is playing music at people and, instead, to play music with people because audience members are constantly part of the experience. What they say in their body language, what they say in their eyes, what they sing with me... it's an 'us,' and there's a communication that's like... it's like church, man.

'Bond' was like Christmas: can't wait for it to come around. Being in the films brought me to a global audience, and I have had the opportunity to meet incredible people.

I think it's an actor's responsibility to change every time. Not only for himself and the people he's working with, but for the audience. If you just go out and deliver the same dish every time... it's meat loaf again... you'd get bored. I'd get bored.

I always wanted to be a character actor rather than the poster boy that they tried to make me 100 years ago. An actor has a degree of responsibility to change for the audience, to give them something new each time, to surprise and not bore them.

I didn't start my label out of a business perspective. I did it because I wanted to create a platform where new musicians can have the chance to get into a studio, work with each other, and get their music noticed by a large audience.