We're from New York, so we have a decent following.
We've gone from venues that hold 500 up to 3,000 on our own, so I guess we're not entirely unknown. But there is a difference between a few thousand people and 20,000.
Ego is hilarious - especially the vanity of a comedian. As soon as you see one start worrying about how cool he is or about how many stadiums he can fill, he stops being funny.
I have a very small public.
Everybody that you could name would join in our audiences from, Laguardia on down. Everybody came. Everybody came to the Cotton Club.
We'll play somewhere like London, playing to 2,000 people easy, and every time you play with more people, you think, 'You're a rock star,' and it makes you laugh. I guess I am, but I'm also, you know, not.
They say 15 million people are watching the show, but what does that mean, you know? It's not until I'm accosted on the street that I understand!
There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.
I think the pressure gets to me when I play shows and there's more people in the audience than I'm used to.
I still enjoy performing, whether it's in front of two people or 2,000 people, but it's not fun once you leave the big show.
We've been in front of really big audiences, and people have said there's a couple of hundred thousand people out there, but I've never really noticed.
When I go to Japan and do shows I play for 1,000 to 1,500 people. I like a lot about Japan. Their popular culture and mass commercialization appeals to me.
I feel like it's harder to perform in front of a smaller crowd sometimes still than it is a larger crowd.
I genuinely don't know how many albums I'm going to sell when the new album comes out, because I honestly don't know how many fans I've actually got at the moment.
I have no concern with widening audience.
For all the best teachers pride themselves on having a large number of pupils and think themselves worthy of a bigger audience.
I had a very strange career. I mean I went from playing to 150,000 people in 1983/84. Three or four years later I was playing to four people, you know, in Melbourne. I thought - bit strange, you know bit odd, bit erratic.
A screen actor is compensated in the knowledge that millions will see his performance at one time, where only hundreds will see it on the stage.
I don't think poetry has a readership anywhere, really, that's that big.
I've been in front of 60,000 people. Then there are times I've been in front of less than 100. Every single show is going to be something you remember.
Not a lot of people watch cable news, they just don't.
Large audiences did not suit my low-key approach.
The broader your audience, the more people you have to appeal to.
Not every show needs to reach the same size of audience, or same width, of a 'Sopranos'.
Everyone knows that there are more people watching any given show than is being registered by the Nielsen system.
