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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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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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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You don't ever want to seem less than a person.
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Because I don't like to play on a full stomach, I try to eat a bigger meal in the morning and less throughout the day leading up to the game.
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The TLC sound! That's what's so awesome - we have our own sound.
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We have rudiments of reverence for the human body, but we consider as nothing the rape of the human mind.
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People are used to seeing kids jump around. You know, the target audience, the audience that's spending money on music, like rock and hip-hop - they're used to seeing people get really physically involved in their music.
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If you're using your imagination, you tend to look into the past for ideas.
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I need to be looked after. I'm not talking about diamond rings and nice restaurants and fancy stuff – in fact, that makes me uncomfortable. I didn't grow up with it, and it's not me, you know. But I need someone to say to me, 'Shall I run you a bath?' or 'Let's go to the pub, just us.'
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On the whole, yes, I would rather be the Chief Justice of the United States, and a quieter life than that which becomes at the White House is more in keeping with the temperament, but when taken into consideration that I go into history as President, and my children and my children's children are the better placed on account of that fact, I am inclined to think that to be President well compensates one for all the trials and criticisms he has to bear and undergo.
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I'm just getting used to all the interviews and promo things, I'm slowly learning. It's very strange.
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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.
