A Quote by Stephen Sondheim

I was essentially trained by Oscar Hammerstein to think of songs as one-act plays, to move a song from point A to point B dramatically. — © Stephen Sondheim
I was essentially trained by Oscar Hammerstein to think of songs as one-act plays, to move a song from point A to point B dramatically.
Stephen Sondheim told me that Oscar Hammerstein believed everything that he wrote. So there's great truth in the songs, and that's what was so wonderful to find.
There are so many songs that have become massive hits merely because the video is great, while the song is pretty rubbish. From that point of view, I think I've always preferred to listen to a song rather than look at it.
The point is to change one's life. The point is not to give some vent to the emotions that have been destroying one; the point is so to act that one can master them now.
We can today open wide the history of their administrations and point with pride to every act, and challenge the world to point out a single act stained with injustice to the North, or with partiality to their own section.
Before I was a Discordian, I took life much too seriously. When you take life too seriously you start to wonder what the point of it all is. When you wonder what the point is in life, you fall into a trap of thinking there is one. When you think there is a point, you finally realize there is no point. And what point is there in living like that? Nowadays I skip the search for a point and find, instead, the punch lines.
On Rafael Nadal: Every point he plays is like match point. That's why he's the champion right now.
I can't wait to play the Hammerstein shows. Things have been exploding in the last week, and that's going to be the exclamation point.
Don't be afraid to write bad songs and then start over and re-evaluate. Songs are like plants, in that you grow them. Some grow really fast, and others need pruning and care...And, finally, a song needs to move you. If it doesn't move you, it will never move anybody else.
I write songs from the point of view I had at a time;I'm not tryingto write songs from a young person's point of view.That only ends in disaster.
I don't write political plays in the sense that I'm writing essays that are kind of disguised as plays. I would really defy anyone to watch any of my plays and say 'Well, here's the point.'
every subjective phenomenon is essentially connected with a single point of view, and it seems inevitable that an objective, physical theory will abandon that point of view.
Asking me what I think of Oscar (Hammerstein) is like asking me what I think of the Yankees, Man o' War and Strawberry Sundaes.
it's about a love song to myself, and a love song to the universe, kind of like the way that Song of Solomon consists of love songs to God or like the way Sufi poems are erotic love songs to God, I kind of wanted something like that. Because I was getting to know myself more deeply at this point. I've always been on this track where I wanted to be enlightened.
We're looking at the court as X's and O's and plays that can happen, two three steps ahead of time. That's what the best point guards do. As you grow into a point guard that's what you learn, and eventually, you tend to grasp that.
My point of view is that science is essentially private, whereas the almost universal counter point of view, explicitly stated in many of the articles in the Encyclopaedia, is that it must be public.
At some point during every cooking class I teach, I do my signature move: dramatically add handful upon handful of salt to a large pot of boiling water, then taste it and add even more.
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