A Quote by Jonathan Dimbleby

The BBC has the obligation to think big. And at the moment, that clarion call sounds an uncertain note to me. — © Jonathan Dimbleby
The BBC has the obligation to think big. And at the moment, that clarion call sounds an uncertain note to me.
Before a big acting competition, my dad sent me a note that said, 'Define the moment. Don't let the moment define you.'
I think the problem with the term graphic novel is it sounds pompous, it sounds pretentious, whereas on the continent, they call it an album, which to me sounds, it's got more much of a connotation of a kind of a music single and an album collection.
In other words, when you have someone [like Ridley Scott] with that authority, then you tend to be left alone. But they were good and they're really good people, and I'm a big champion of the BBC and I think that like minds find each other and I think that FX and BBC is a perfect match.
The Last Arrow transcends a moment or an issue. It is a call to move beyond self-indulgence to a life of sacrificial service. In The Last Arrow I address a broad spectrum of issues from the Syrian refugee crisis to the cultural epidemic of depression to the personal struggle of insignificance. The Last Arrow is a clarion call to make a difference in the world rather than a self-help book for personal self-improvement.
If you find a note tonight that sounds good, play the same damn note every night!
The reformer is one who with clarion voice will call the ministry back to it's knees.
Well, if you find a note tonight that sounds good, play the same damn note every night!
There was a long period where every time someone was shot or stabbed the BBC would call me. I started to think, 'I'm an actor and a musician, I don't want to be a politician or a spokesperson.'
You know, people talk about this being an uncertain time. You know, all time is uncertain. I mean, it was uncertain back in - in 2007, we just didn't know it was uncertain. It was - uncertain on September 10th, 2001. It was uncertain on October 18th, 1987, you just didn't know it.
Tintinnabulation is like this. Here I am alone with silence. I have discovered that it is enough when a single note is beautifully played. This note, or a silent beat, or a moment of silence comfort me.
I am sorry to be leaving the BBC. I have enjoyed a fascinating seven years at the corporation and am particularly proud to have played a small part in the development of the BBC's Global News services, BBC World Service and BBC World.
Somewhere at the heart of the universe sounds the true mystic note: Me.
I remember once at the end of a BBC job interview the manager said to me: 'I didn't realise people like you were clever.' I don't think he was being intentionally nasty. At that time in the BBC he was surrounded by clones of himself, give or take some facial hair and glasses.
I love music/sounds that have a passion, a fire, an energy I can connect with. I love angry sounding beat tracks, dark sounds for sure but I also love delicate sounds, they both connect I think. Discharge back in 1980 was a big explosion in sound for me to hear the anger and the energy, still an influence on me. Miles Davis has been an influence, as much as John Coltrane, Brian Eno, John Hassel. So much around me has influenced me: my everyday life, everything around me, the family, etc.... It has an impact.
I know a girl who cries when she practices violin because each note sounds so pure it just cuts into her, and then the melody comes pouring out her eyes. Now, to me, everything else just sounds like a lie.
It's not about retro or modern, it's about this note or that note, which sounds better?
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