Quotes About Classical

I always felt music to be universal and undifferentiated - Western classical, folk, Carnatic or Hindustani and so on.

Personally, I cain't stand classical stuff, but I don't tell the world about it. I just turn the radio off. Now, why cain't these folks who don't like my kind of music do the same?

In war films, even more than in other kinds of documentary, we've come to think that shaky, poor-quality footage is somehow more authentic than something classically 'well shot.'

I was very fortunate to have gone to drama school in London for three years, and that was classical training in the sense that a lot of it was dominated by stage work, so I would love to go back to stage.

Firstly, I think the values that underpin all liberals, frankly - classical liberals, all liberals - of respect for the individual and freedom are worth fighting for.

I went to L'Academie de Cuisine in Gaithersburg, Maryland, and I think French cooking is the basis for a lot of classical cuisine, a foundation of a lot of other cuisines. That said, it's not the only way to approach a cooking career.

I fell in love with funk music through my father - Funkadelic - as well as soul and classical early on.

I trained as a classical actor in London for three years. We did Tennessee Williams and dialect and accent classes; they were one of my favorite things to do each week. And we'd strip it down to the phonetics and listen to the sound. It was a really interesting way to look at it all.

I love Glenn Gould. Max Steiner. John Williams. Louis Prima. Benny Goodman. Miles Davis. John Philip Sousa.

A lot of people don't know that my background is completely classical. For a while there, I was all about Moliere and the Greeks and Brecht and Tennessee Williams.

I obtained a Woodrow Wilson Doctoral Fellowship and entered the graduate program in History at the University of California. With no Greek or French and minimal Latin and German, I was in no position to pursue my classical interests, so I began work at Berkeley with little more than an open mind.

I want to do all kinds of things. I want to do some comedy. I'd love to do a romantic comedy, and I'd love to do some period pieces with classical text. I'd love somebody to cast me as Macbeth, but for a film. I just want to be all over the place.

Right out of school, I did this show called 'Natasha, Pierre & the Great Comet of 1812.' It is based on a classical text with new music - not necessarily confined by a certain genre. It was a diverse, interesting group of musicians, actors, nonactors, and singers all creating this thing that is bigger than all of us.

What I don't find compelling is doing classical plays that everyone already knows - and people are following with the text in their hand because no one is listening.

I think it's ironic when Plato makes the learned woman Aspasia Socrates' teacher, but I think women crop up more in the Platonic dialogues than they do normally in texts of the period, and in an un-hysterical way.

I cannot understate the ability to handle classical texts such as Shakespeare.

I have to tell you that J.S. Bach was easily the greatest musical innovator in the history of the world. He was so advanced for his time. There's a spiritual depth to his music. You can listen to it and it's like meditation.

In a way, the history of jazz's development is a small mirror of classical music's development through the centuries. Now jazz is a living form of original music, while classical music has gotten to the end of its cycle in terms of exploring its form.

Even as I pursued a doctorate in the history of ideas in my native Denmark, I realized I had neither the encyclopedic training nor the passion for cool logic - not to mention the nerve - to follow in the footsteps of classical liberal philosophers and economists such as Robert Nozick, Friedrich Hayek, and Milton Friedman.

We're passionate musicians, but we felt classical concerts were more like a funeral because nobody talked and everybody was dressed so conservatively. We thought that's kind of strange, because music is full of life! We thought we could break through that barrier with theater and comedy elements.

I've never had any feeling of disconnection between the classical theater, or the contemporary theater, or musical theater, or the thing that we call opera.

I've done classical theaters. I played Hamlet myself and Romeo.

I want to keep doing interesting work with interesting people in whatever form that may take, but I want to play the big parts of classical theatre; I want to go on stage and play great Shakespearean roles and, at the same time, do amazing, challenging indie films and comedy, and I want to do it all. I am greedy.

I think any classical training in the theatre is of enormous value.