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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Just put one foot in front of the other.
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I rebelled against the Mormon Church by going to other churches. I rebelled against my parents by not eating meat. I rebelled against my friends and myself by doing drugs. And I rebelled against everything that was holding me down by playing music with these guys.
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I think I'm a focus for international attention.
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Its very essence is trust upon Him and His sin-expiating and life-purchasing merits. Its very essence consists in its self-emptying, self-denying, Christ-grasping energy.
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The poet should seize the Particular, and he should, if there be anything sound in it, thus represent the Universal.
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With my writing, because I live it, I have to be consumed by it, and that means you have to forget your other life, which is constantly pulling you from your work.
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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.
