A Quote by Dietrich Fischer-Dieskau

If you only do little clusters - three or four songs by one, and another, and then yet another - you lose the opportunity to think your way into the composer's mind, since, after all, most of these pieces are quite brief.
One word after another. That's the only way that novels get written and, short of elves coming in the night and turning your jumbled notes into Chapter Nine, it's the only way to do it. So keep on keeping on. Write another word and then another.
Well, I do not mind telling you I have been at work upon this geometry of Four Dimensions for some time. Some of my results are curious. For instance, here is a portrait of a man at eight years old, another atfifteen, another at seventeen, another at twenty-three, and so on. All these are evidently sections, as it were, Three-Dimensional representations of his Four-Dimensioned being, which is a fixed and unalterable thing.
Bach was so mathematical and I liked this idea that you could have one instrument going, 'One, two, three, four', and then you have another instrument going, [double time] 'One, two, three four', and another instrument going, [doubled again] 'One, two, three, four, one, two, three, four', so you could add twos and fours and eighths, and that happens a lot in Bach.
If you're a movie star, you get the girl, you lose the girl, and then you get her back. But if you're a character like me, you lose the girl, then you get another one, then you get another one, then you lose them all, then you lose your life.
Danger is when you are split three ways: Your soul goes one way, your mind goes another way and your body goes yet another way.
I've been an art collector since the Sixties, and I kept it very separate from my showbusiness career. I've had art shows since the early Nineties, a museum show that travelled to four countries. I've had three or four art books; it's just another way I have to tell stories.
I think the beauty of the film industry is that if another person tries to become another person or act like another person or imitate another person, they don't really get too far. When that person starts to realize who they are and what they can bring to the table, they start to blossom and grow. With that, it's not so much me looking towards my predecessors who have paved the way in the industry - it's more getting inspired. I get little bits and pieces of what I can take from any and everybody.
The thing that was most harmful was that there was always something that was about to happen. So I found myself indulging in the writer's luxury of doing another draft, another idea. If this project isn't happening, then I'll shelve one script and start writing another. And in that way, the years go by, and there's very little money coming in.
The man who has learned that three plus one are four doesn't have to go through a proof of that assertion with coins, or dice, or chess pieces, or pencils. He knows it, and that's that. He cannot conceive a different sum. There are mathematicians who say that three plus one is a tautology for four, a different way of saying "four" ... If three plus one can be two, or fourteen, then reason is madness.
I'm gonna put out another album and then another album after that. And then I'm gonna put out a mixtape, and then I'm gonna put out another ten songs, and then I'm gonna put out a hundred more songs and a thousand songs after that.
I notice that I only publish once every four years. It takes a couple of years to write a book and then, for me, for one reason or another, it usually takes about a year of sort of dicking around before I start up. I write a review or little magazine pieces and touring with the other book. But mainly it's just you're not ready, I'm not ready to start another. You're just not up for it.
I used to say, as an assistant, I would go in and close my door for three hours after practice and just watch film. Now it seems like I'm in a meeting and then another and then another for three hours that have nothing to do with basketball. It's just different.
Think of it this way: performing is like sprinting while screaming for three, four minutes. And then you do it again. And then you do it again. And then you walk a little, shouting the whole time. And so on. Your adrenaline quickly overwhelms your conditioning.
Songs give you incredible opportunity to convey a tremendous amount in a relatively short period of time. The first thing that John Powell, our composer, says is, "Is the song engaging you to tap your toe?" If you're not tapping your toe, it doesn't matter what you're doing in the song, it's not going to work. But, if you can get the audience to be engaged by the song, then it gives you the opportunity to accomplish so much, in a very concise way.
Appointments' is largely just derived from pieces of dialogue with another person, and then also what's going on inside of my own mind, or a person's own mind. They're intended to be a little bit exaggerated and a satire of things that we're not sure are entirely true, or maybe biased.
We live thick and are in each other's way, and stumble over one another, and I think we thus lose some respect for one another.
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