Mitch Leigh Quotes

I don't like Tommy on Broadway at all. I like the music, I'm pleased with Pete's success but I don't like what they've done to it.

I recently watched Peter Brook's Lord of the Flies, and it wasn't a favorite film. Then I saw the one that was made in 1990, which in my opinion didn't match up to the original.

Cervantes smiled Spain's chivalry away; A single laugh demolished the right arm Of his country.

But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.

'Don Quijote' by Cervantes. I read the original Spanish version when I was in high school. Such a classic!

Don Juan's story can have no end, and that, on my word, is the definitive and true story of 'Don Juan.'

Cervantes smiled Spain's chivalry away.

While clearly an impregnable masterpiece, Don Quixote suffers from one fairly serious flaw--that of outright unreadability.

Don Quixote — I read that every year, as some do the Bible.

Playing Arjuna was one of the most special experience because as kids we have seen 'Mahabarata,' we have read about Arjuna, and one day you get a chance to play that role in the profession that you love the most that one of the most special one of my life.

I'm writing a musical. I am. I was able to buy the rights to 'The Preacher's Wife,' which starred Whitney Houston... I'm writing a whole new score and all the lyrics for it.

We're all sort of aware what 'SpongeBob the Musical' could be in the hands of the wrong people.

I had to go in and do the work of toning [invented "historical" bits] down in order to make them fit [in Lincoln in the Bardo]. It's like if you're an actor and you're always overacting, well, you're a bad actor. But if you're an actor who subdues yourself to the extent that's necessary, then you're really acting.

Instead of Otello being an Italian opera written in the style of Shakespeare, Othello is a play written by Shakespeare in the style of Italian opera.

I write poems for myself and I write poetry that gets torn apart and becomes songs. I have a lot of respect for words, the power of words.

As an artist, I have been a risk-taker. And I've done a lot of different things. I don't make it easy for people. Identification is difficult. One doesn't recognize my art right away.

I know that a translation of a work of literature is like playing a violin concerto on the piano. You can do this. You can do this very successfully on one strict condition: never try to force the piano to produce the sounds of the violin. This will be grotesque.

Reading Don Quixote can be compared to an indefinite visit from your most impossible senior relative, with all his pranks, dirty habits, unstoppable reminiscences, and terrible cronies. When the experience is over, and the old boy checks out at last (on page 846 - the prose wedged tight, with no breaks for dialogue), you will shed tears all right; not tears of relief or regret but tears of pride. You made it, despite all that 'Don Quixote' could do.

I have read the Aeneid through more often than I have read any long poem.

Actually, it's as if [Superman is] more real than we are. We writers come and go, generations of artists leave their interpretations, and yet something persists, something that is always Superman.

I have a lot more writing experience than Paul Dano has, so to be able to put that experience to use in exercising his vision was almost an acting exercise: How would I write if I were Paul? When I look at it, it feels so completely his, but it's also mine.

The depths modern art has been exploring are mysterious depths, full of strange fish.

I read a lot of 'The Canterbury Tales' on my phone last year, because I was cycling between three different editions, and I needed to have a middle-of-the-night edition for the insomniac reading.

When you decide to adapt some Russian novel, it's like everyone knows about it but nobody has read it.

Art in the blood is liable to take the strangest forms.