Coach Boone: I don't scratch my head unless it itches and I don't dance unless I hear some music. I will not be intimidated. That's just the way it is.
Ray Charles: If I feel the music, that means it's real. Quincy Jones: No, it ain't. Ray Charles is a sell-out. The blind Liberace, leaving those Rocking Chair roots behind.
Captain von Trapp: Fraulein, is it to be at every meal, or merely at dinnertime, that you intend on leading us all through this rare and wonderful new world of... indigestion?
Mother Abbess: Maria, these walls were not meant to shut out problems. You have to face them. You have to live the life you were born to live.
Max: He's got to at least *pretend* to work with these people. You must convince him. Maria: I can't ask him to be less than he is.
Liesl: [singing with the children at the Villa] So long, farewell, au revoir, auf Wiedersehen! I'd like to stay and taste my first champagne. Yes? Captain von Trapp: No!
Maria: [saying her bed time prayers] I forgot the other boy. Oh, what's his name? Oh, well, God bless What's-his-name.
Captain von Trapp: [after pulling the gun from Rolfe] You'll never be one of them. Rolfe: Lieutenant! Lieutenant, they're here! They're here, Lieutenant! [blows whistle]
Max: I like rich people. I like the way they live. I like the way I live when I'm with them.
Max: I hope you appreciate the sacrifice I'm making. Captain von Trapp: You have no choice. Max: I know... That's why I'm making it.
I was never really a Mod. I thought I was more of a beatnik with the brown corduroy jacket, blue jeans, etc. I loved the music Mods liked, and I loved the clothes, but I didn't have any money to spend on them.
When they look back on me I want 'em to remember me not for all my wives, although I've had a few, and certainly not for any mansions or high livin' money I made and spent. I want 'em to remember me simply for my music.
I used almost every penny I ever made to build recording studios in every city I lived in. I don't have much to show for all the TV money except a lot of musical gear and a lot of songs.
If Barbra Steisand wants to make a picture called 'My Pink Fingernail,' the studios will go, 'Gee, Barbra, what a wonderful idea! Money is no object! Take two years in preproduction and write the music, and you'll direct.'
Here in New Orleans, what a lot of the musical families do - and this is a romantic concept on my part - is they teach their kids to tap dance first. Then after tap dance, you learn piano, and after piano, you get to pick between all the instruments ...
I don't like to hurry. I'm not a conductor of the fast, fiery romantic type. I prefer Bruckner, with the sincerity of his musical language and the huge time spans in which his ideas develop, to Mahler, with his hysteria and self-indulgence.
Harmony is an obscure and difficult musical science, but most difficult to those who are not acquainted with the Greek language; because it is necessary to use many Greek words to which there are none corresponding in Latin.
I was doing a Broadway musical called 'Smile' with Howard Ashman and Marvin Hamlisch in 1984/5 when it abruptly closed. Howard was in the middle of pre-production for 'The Little Mermaid,' so he kindly invited all the girls in our cast to audition fo...
I don't want to be entertained. I don't want visuals or musicals. I don't want a vacation. I don't want to quit. I don't want sympathy. The cry of my heart is 'Just Give Me Jesus.'
I had a teacher senior year in high school. He was a theater teacher, and he basically was a little bit like 'High School Musical.' He kind of encouraged the jocks to get involved with the plays. I did it as kind of a senior year lark.
Playing sport was somewhat frivolous, but I liked it. I rebelled a little bit, and wouldn't go to music lessons and things like that, but I would go and play ball. My parents learned to love it because they saw how much I got out of it.
