For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.
I want to keep audiences off balance, so they don't know who I am or how to take me. If I duck and weave, as Frank Bruno might say, I'll have a longer shelf life.
All of the sudden the audiences started getting younger and the spread of the attendance was really wide. I think it's as a result of the records selling more that they started following our careers.
This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.
We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.
You always draw on your experiences with live audiences to know how to do comedy on films. You're working for a laugh that may or may not come six months later, but you're working in a vacuum at the time you are doing it.
