A Quote by Victor Borge

Beethoven wrote in three flats a lot. That's because he moved twice. — © Victor Borge
Beethoven wrote in three flats a lot. That's because he moved twice.
Right when I moved to L.A., I started writing. I wrote some screenplay. I'm sure it's terrible. But I wrote a screenplay by myself. When I first moved to L.A., I had no friends. I didn't know anybody. I just sat in a little studio apartment, and I wrote a screenplay.
Everybody is different. Some writers can write reams of great books and then J. D. Salinger wrote just a few. Beethoven wrote nine symphonies. They were all phenomenal. Mozart wrote some 40 symphonies, and they were all phenomenal. That doesn't mean Beethoven was a lesser writer, it's just some guys are capable of more productivity, some guys take more time.
I worked out; I moved 16 times from the age of 19, just hopping about from different flats, because I couldn't always afford to stay.
A lot of people don't know that Beethoven, when he wrote the Fifth Symphony, that second movement, he took eight years to figure that out!
I've outdone anyone you can name - Mozart, Beethoven, Bach, Strauss. Irving Berlin, he wrote 1,001 tunes. I wrote 5,500.
I went to school in Gainesville because it was a huge punk and folk town. So I went to class twice a week, and then I went to shows and wrote. I did a lot of music writing before I actually started playing music.
Playing the Beethoven symphonies, for example, is a consummate experience for a musician because Beethoven speaks so directly to who we are as people.
It's funny, because in 1970 I met the Beatles quite by a chance at a party. It was the Beethoven bicentenary, and I was then also playing the Beethoven Sonatas. And that's all they wanted to hear about - I wanted to talk about them, and all they wanted to talk about was Beethoven.
During a rehearsal of Beethoven's Ninth Symphony the members of the orchestra were so overwhelmingly moved by the conducting of Arturo Toscanini that they rose as one man and applauded him. When the spontaneous cheering has subsided, Toscanini turned to his men, tears glistening in his eyes. "Please . . . please! Don't do this! You see, gentlemen, it isn't me you should applaud. It's Beethoven!"
I did The 'Acid Test' at the Royal Court, by Anya Reiss, who's the most wonderful, amazing female writer. She was only 19 when she wrote it. She wrote it about three girls in a flat on a Friday night, and that was magic because it was so rare to have three girls in your age group in a play. It just doesn't happen.
I wanted to create flats that are as chic as heels - flats you don't have to apologize for.
I first came to cinema as a passionate filmgoer, when I was a child. Then, when I was a very young man, I became a film critic precisely because of my knowledge of cinema. I did better than others because of this. Then I moved on to screenwriting. I wrote a film with Sergio Leone, 'Once Upon a Time in the West.' And then I moved to directing.
Beethoven I take twice a week, Haydn four times, and Mozart every day.
Before I moved into the mainstream of American movies, I wrote a script as an experiment. I wanted to get very far away from the clichés about the three-act play - structure, development.
There are books so alive that you're always afraid that while you weren't reading, the book has gone and changed, has shifted like a river; while you went on living, it went on living too, and like a river moved on and moved away. No one has stepped twice into the same river. But did anyone ever step twice into the same book?
When I wrote 'Savage Season,' it was three years later before I wrote the second Hap and Leonard novel. Whenever I wrote one, I never intended to write the next one.
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