Top 296 Les Quotes & Sayings - Page 4

We [with Les Charles] started talking about hotel stories, and we found that a lot of the action was happening in the hotel bar. We actually thought of that while we were in a bar: "Why would anyone ever leave here?"

When I first left the Eagles, I said, 'That's it. I'm going to play golf.' After 10 days, it was like... there has to be more to life! I can still swing a golf club, and don't forget, Les Paul played until he literally passed away.

While other guitars may have more twang or an esoteric atmosphere, the Les Paul is like a T-Rex thampling everything in it's path .. it can be subtle if you want it to be, but it works best if you have an 'armadillo in your trousers' and you want to articulate that

We have reason to believe that when, during the crusades, Europe at last began to establish hospitals, they were inspired by the Arabs of near East....The first hospital in Paris, Les Quinze-vingt, was founded by Louis IX after his return from the crusade 1254-1260.

It's sad when you see most of your friends in the business gone, like Tommy Cooper, Frankie Howard, Eric Morecambe, Roy Castle, Les Dawson. They were very dear to me. You no longer have the chance to bump into them at a celebrity do.

The Les Paul was more challenging because of the weight of it, but the tone was there that the Fender will never have and vice versa. So you have to make a decision as to what you're going to have as your main instrument. After seeing Hendrix, I thought, 'I'll stick with the 'Strat.'

Sure, 'Les Miserables' can be melodramatic. And seeing the musical instead of reading the novel will save you some time and spare you the long part where Hugo goes on and on about the Parisian sewer system. But I would hate for the novel to lose that.

There's something about uninterrupted singing that just doesn't work for me, because at some point, I need my characters to talk. Without meaning to offend anyone, a musical like 'Les Miserables' would be the last thing I'd ever be interested in.

La volaille est pour la cuisine ce qu'est la toile pour les peintres. Fowls are to the kitchen what his canvas is to the painter.

It's fun, but the fun is where it always was. I mean, it's still fun to strap on my Les Paul in the basement and turn up the Marshall amp. I'm still 15. I still enjoy that as much as I ever did.

Every year I go to Broadway to see a musical - I like the music. I saw 'Mamma Mia;' I saw 'Les Miserables;' I saw 'Phantom of the Opera' like six, seven times.

This sounds geeky, but when I run, I like to listen to musicals like 'Les Miserables.' The soundtracks are 75 minutes or longer, and I keep going until the story ends, so it feels like a good workout.

Les Pauls work out real well for me because I'll beat the hell out of them and they'll still work. The only trouble with them is finding good ones.

In the Broadway world, I've always wanted to play Valjean in 'Les Mis', since I've already played Gavroche. I'd also like to play the Phantom of the Opera, but I haven't really thought about any film characters. You've got to have a whole lot of training for the Phantom role, vocally.

Premie' re approximation: j'e cris pour de truire, en les de crivant avec pre cision, des monstres nocturnes qui menacent d'envahir ma vie e veille e. First general point: I write to destroy, by describing exactly the nocturnal monsters that threaten to invade my waking life.

I can't stand tribute bands. It's nice, bless 'em, but it's not right. They can't capture the right spirit. You never see a tribute comedian, a tribute Les Dawson.

I used a '57 Les Paul on one track, 'These Walls', which features Alam Khan on sarod. I tuned it way down because the sarode is naturally in C but I tuned the guitar down to D and he came up to D. It was all a pretty simple setup.

My guitar is a mutation between a classic Fender Stratocaster guitar, which I played for years, and a Gibson solid-body like an SG or a Les Paul. It contains all sounds of the basic classic rock n' roll guitars. It does what I want it to do.

Why should an intellectual have to renounce the pleasures of life? I am not a hermit. I am a man of flesh and blood. In fact, if you look at my name in French, that schizophrenia, that aspiration to several lives is contained in my name. Lévy is also les vies - "the lives".

Je sais la douleur est la noblesse unique O u' ne mordront jamais la terre et les enfers. I know that pain is the one nobility upon which Hell itself cannot encroach.

In France, they call the people who come to the theatre 'les spectateurs'; in Britain and Ireland, they are the audience, the people who listen. This does not mean the French are not interested in language. On the contrary. It actually says more about the undeveloped visual sense over here.

La mort, mon fils, est un bien pour tous les hommes; elle est la nuit de ce jour inquiet qu'on appelle la vie. Bernstein Death, my son, is a good for all; it is the night of this worrisome day that one calls life.

This sounds geeky, but when I run, I like to listen to musicals like Les Miserables. The soundtracks are 75 minutes or longer, and I keep going until the story ends, so it feels like a good workout.

If you had of told me age 10 that in 19 years time I would be on a stage in Salford performing with Les Dennis in a sitcom I had written, I would have believed you.

La solitude re tablit aussi bien les harmonies du corps que celles de l'a" me. Solitude restores the harmonies of the body no less than those of the soul.

Since 2002, there has been a wave of attacks against Jewish 'persons or property' in France, a great many of them committed by young men living outside Paris, in the vast ghettos called les banlieues.

Growing up in Dallas, my first influences on the guitar were T-Bone Walker and Les Paul. T-Bone taught me how to play lead guitar behind my head and do the splits in 1951 when I was nine.

I'm sort of standing on T-Bone Walker's shoulders, Les Paul's shoulders, Lightnin' Hopkins' shoulders, Muddy Waters' shoulders, you know? And if I've inspired other people, I'm pleased. That pleases me greatly.

I just wanted to see every single musical I could. The very first one I saw was 'Beauty and the Beast,' the only one I could get tickets for, and then 'Les Miserables' and then 'Chicago.'

I used to go to Caerphilly with my brother Les, two years older than me, with my mother to see her sister, Gladys. When they wanted to talk we'd have to leave the room. She'd say to her husband Stan 'take them in the front room and play the piano.'

For the 'Load' album, I was experimenting so much with tone that I had to keep journals on what equipment I was using. For 'Hero of the Day,' I know I used a 1958 Les Paul Standard with a Matchless Chieftain, some Boogie amps and a Vox amp - again, they're all blended.

Beaucoup d'hommes ont un orgueil qui les pousse a' cacher leurs combats et a' ne se montrer que victorieux. Many men have pride that causes them to hide their combats and to only show themselves victorious.

I get a little Verlaine for Patsy with drawings by Bonnard although I do think of Hesiod, trans. Richmond Lattimore or Brendan Behan's new play or Le Balcon or Les Negres of Genet, but I don't, I stick with Verlaine after practically going to sleep with quandariness

During one performance of 'Les Miserables,' the barricade didn't leave the stage, so we had to actually end up finishing the second act with the barricades on the stage, which was very strange... doing the love scene on the barricade.

I wrote in Les Mots that "I have often thought against myself." That sentence has not been understood either. Critics have seen in it a confession of masochism. But that is how one should think: revolting against everything "inculcated'' that one may have within oneself.

I have simply taken some of the same questions and reposed them in new ways. But, you see, I must live. Right? I mean I can't stay the same for everyone to be consumed as the author of "Gender trouble". I have to continue to live and that means I have to "reposer les questions".

Le temps qui change les e" tres ne modifie pas l'image que nous avons garde e d'eux. Although time changes people, it cannot change the image we have already made of them.

Le lecteur, lui non plus, ne voit pas les choses du dehors. Il est dans le labyrinthe aussi. The reader [as well as the main character] does not view the work from outside. He too is in the labyrinth.

Sport is a passion and out of passion comes love. No point trying to work out why some become heroes and others don't. The chosen ones just go into the pantheon and refuse to fade. Think of Bradman and Les Darcy, Phar Lap and Tommy Corrigan.

Here is a les­son in writ­ing. First rule: Do not use semi­colons. They are trans­ves­tite her­maph­ro­dites rep­re­sent­ing absolutely noth­ing. All they do is show you've been to col­lege.

Children have neither past nor future; and that which seldom happens to us, they rejoice in the present. [Fr., Les enfants n'ont ni passe ni avenir; et, ce qui ne nous arrive guere, ils jouissent du present.]

Vive les peuples, Vive la Republique! Vive la France!

I'm doing 'Les Miserables,' the movie. I've done a lot of musicals and a lot of movies, and I know there are not a lot of people in Hollywood who have been down those two paths so I've been like, 'Come on, let's do a movie/musical.'

My uncle Les Dolliver was a partner with the Nasser brothers, who owned a string of theaters in San Francisco, and also supplied motion picture projectors and seats for theaters. So I was always around theater people.

Men blush less for their crimes than for their weaknesses and vanity. [Fr., Les hommes rougissent moins de leur crimes que de leurs faiblesses et de leur vanite.]

I always use my Les Paul. I have a Hamer as well. I use a Tele and an Esquire - once in a while, I will use a Strat, and I never use any pedals... except for in my car.

Vivre est un maladie dont le sommeil nous soulage toutes les 16 heures. C'est un pallatif. La mort est le remede.

The reason why lovers and their mistresses never tire of being together is that they are always talking of themselves. [Fr., Ce qui fait que amants et les maitresses ne s'ennuient point d'etre ensemble; c'est qu'ils parlent toujours d'eux memes.]

The dizziness in the face of les espaces infinis--only overcome if we dare to gaze into them without any protection. And accept them as the reality before which we must justify our existence. For this is the truth we must reach to live, that everything is and we just in it.

I just wanted to see every single musical I could. The very first one I saw was 'Beauty and the Beast,' the only one I could get tickets for, and then 'Les Miserables' and then 'Chicago.

Whoever did not live in the years neighboring 1789 does not know what the pleasure of living means. [Fr., Qui n'a pas vecu dans les annees voisines de 1789 ne sait pas ce que c'est le palisir de vivre.]

All I say is: Let us leave les folles alone; let's just leave them be. Don't judge them. You are not superior to them - don't put them down.

Il ne fallait jamais faire des expériences pour confirmer ses idées, mais simplement pour les contrôler. We must never make experiments to confirm our ideas, but simply to control them.

The longer I live, Dorian, the more keenly I feel that whatever was good enough for our fathers is not good enough for us. In art, as in politics, les grand-pères ont toujours tort.

I come from a big family of musicians, so I was lucky enough to grow up with guitars all around the house. Even though I didn't really know much at the time, my brother had a Les Paul Goldtop, and my dad always had this Fender or some bizarre Pedulla-Orsini guitar.

Naturally, as a little boy, I did lots of naughty things. With Les, the son of the farm manager, I was always climbing on high roofs, then tumbling off, or building dangerous networks of tunnels in the hay bales.

You could do a 'Les Mis'-type musical about Hamilton, but it would have to be 12 hours long, because the amount of words on the bars when you're writing a typical song - that's maybe got 10 words per line.

From time immemorial, soups and broths have been the worldwide medium for utilizing what we call the kitchen byproducts or as the French call them, the 'dessertes de la table' (leftovers), or 'les parties interieures de la bete', such as head, tail, lights, liver, knuckles and feet.

For the 'Load' album, I was experimenting so much with tone that I had to keep journals on what equipment I was using. For 'Hero of the Day', I know I used a 1958 Les Paul Standard with a Matchless Chieftain, some Boogie amps and a Vox amp - again, they're all blended.

Tis thus we heed no instincts but our own, Believe no evil, till the evil's done. [Fr., Nous n'ecoutons d'instincts que ceux qui sont les notres. Et ne croyons le mal que quand il est venu.]