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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If you get lazy when you're onstage, it shows.
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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 am not thinking about life after football, but I know it will be another life, another world.
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We're growing up together, the human race. And we've discovered a lot of things that we didn't know. We're finding our way. Instead of thinking about doomsday all the time, think about how beautiful the world is. We're all together, and together we're getting wiser.
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The fatal tendency of mankind to leave off thinking about a thing when it is no longer doubtful is the cause of half their errors.
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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.
