Michel Legrand Quotes
Here is how I work: when I think that a film needs to have a principal theme, I search for a melody. I have a very strange melodic gift: melodies come to me effortlessly. So I write melodies-thirty, forty, fifty-then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide. That happened one time with Jacques Demy for the duo of the twins [in Les demoiselles de Rochefort]: I went to his house in Noirmoutier to play 35 possible themes for him.
Quotes to Explore
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People want to help me. They want the best for me. I always say thank you to people when they try that. I never get mad.
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Oil is ancient wealth in the ground.
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One time I got dressed in all black, Rambo-style, and took a massive pair of bolt-cutters and nicked a military bike.
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I've had a few semi-toxic relationships, but it's not what I look for when I'm seeing someone.
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In back of the outward calm … a small terrified voice cries out: 'I need it. I have to have it or ...' The end of the sentence is lost in chaos. The need is so strong that an illusion is created that it must be fulfilled, or the very existence of the self is threatened.
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In my lifetime all our problems have come from mainland Europe and all the solutions have come from the English-speaking nations across the world.
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But make no mistake. My counterpart is capable of a great deal of ruthlessness in pursuit of a just cause. He believes he has right on his side. And men who think they have right on their side are always the most dangerous sort.
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I'm from Michigan and a down-home girl.
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The myth-making about Appomattox started from the moment Lee left the courthouse on his horse to travel to Richmond.
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Some coaches pray for wisdom. I pray for 260-pound tackles. They'll give me plenty of wisdom.
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I began to get calls from constituents, 'Do you think you can ever get on transportation?' So when there was a vacancy created, I worked very hard to get there.
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By the first week of shooting, you know exactly where your film is heading based on the psychology of your director.
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I was in front of the goal so much at Stanford. I still amassed a lot of goals, but there were so many opportunities that I wasn't scoring.
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I was in a band when I was in high school, and I was bitten by the performance bug, if anything else.
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One does not expect to be comfortable in prison. As a matter of fact, one's mental suffering is so much greater than any common physical distress that the latter is almost forgotten.
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There is no public out there who needs to change. It's each one of us.
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Women can better perceive injustice.
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You don't ever want to seem less than a person.
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I exist," murmurs someone whose name is Everyone. "I'm young and in love; I am old and I want rest; I work, I prosper, I do good business, I have houses to rent, money in State Securities; I am happy, I have wife and children; I like all these things and I want to go on living, so leave me alone."... There are moments when all this casts a deep chill on the large-minded pioneers of the human race.
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I've always been proud that my name stands for peace.
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I feel it's OK if not everybody agrees with me or likes me. The weird thing was it turned into people thinking I said we deserved it. I didn't say that - but Americans do need to look at their behavior in the world. It's easy to say, 'That was awful,' and hard to ask, 'Is there a way I can amend?'
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Even the favorite reviews, the audience response is the movie is too slow, deliberately slow. But for the Chinese audience, the biggest complaint is it happens too quick. I think the historical background that build into our genes is different. American people has never been occupied. The deep sadness and sentimentality, the cultural background that relates to melodrama that we relate to and grow up with, the propaganda, I didn't imagine the difference is so big. It's a very interesting cultural phenomenon.
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Here is how I work: when I think that a film needs to have a principal theme, I search for a melody. I have a very strange melodic gift: melodies come to me effortlessly. So I write melodies-thirty, forty, fifty-then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide. That happened one time with Jacques Demy for the duo of the twins [in Les demoiselles de Rochefort]: I went to his house in Noirmoutier to play 35 possible themes for him.
