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"When I was speaking about communicating, I meant that the listener - we have to reach the listener; otherwise, of course, you're writing the piece, as I say, only for the satisfaction of seeing it on the paper for yourself, and then it ends right there."
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"Watching Jodie on this is incredible; it's the perfect role for her. It's so intense and so emotional. She just jumped right into it and is so professional."
"Even if you're on the right track, you'll get run over if you just sit there."
"You wiggle to the left, you wiggle to the right, you do the Ooby Dooby with all your might."
"I said all along I would not sell my story. I don't think it would be right."
"I couldn't get as big as a bodybuilder. I tried to put on as much weight in the right places as I could. My weightlifting was impressive for me, but not for some of the guys I see down at the gym."
"And when I stopped doing that and started thinking about what feels natural and what feels right to me and started pleasing myself, then it became good."
"If you put the right things out there the right things will happen."
"If I feel the part is right, and I know that the producers and the director want me, I'd go for broke. Always."
"He ended it. He just said he didn't - he - well, what he said was that he didn't feel it was right, and you know, I mean that's - because he ended it, he'd probably have to be the one to answer that."
Explore more quotes by Leo Ornstein
"To the person that deals in visualizations, I suppose there is something rather exciting about a whole set of people - they all going symmetrically, up or down, in a military sort of precision."
"There are some people, by the way, that associate a certain amount of visualization with the performance of music. Those are people that really are not centrally concerned only with music, the traditional things."
"We can use techniques in modifying things, in controlling things, but the first impulse has to be something that you simply cannot make just out of technique, or else it becomes perfectly evident that it is nothing but technique that you're exercising."
"I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to the listener very complicated, there's really a push to the world to try to figure out what it was that he was hearing."
"The danger of that - and there's a grave danger that I, myself, have to be very aware of - is that you become so involved and intrigued in the language that sometimes you lose track that that is only a means to an aesthetic experience that the listener has to get."
"The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it by technical equipment."
"Besides merely some pleasure that we get out of the combinations of pitches together and lines, I think that there is some satisfaction that we get in the fact of having this diffuse thing organized very concretely and put onto a frame and have it actually decided."
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