I start each collection thinking how I can refresh my classics.
In New York, I was excited about the music in New York because the only music that I was more or less involved with in the South was either country and western or hillbilly music as we used to call it when I was a kid and, ah, gospel. There was no, there was no in between. And when I got to New York all the other musics that's in the world just came into my head whether it was the classics, jazz, I never knew what jazz was about all, had heard anything about jazz.
Most of the time, I don't watch classics with anybody. I have to be by myself. That's my classroom.
The classics can console. But not enough.
In order to be able thus to misjudge, and thus to grant left-handed veneration to our classics, people must have ceased to know them. This, generally speaking, is precisely what has happened. For, otherwise, one ought to know that there is only one way of honoring them, and that is to continue seeking with the same spirit and with the same courage, and not to weary of the search.
Even my failures make money and become classics a year after I make them.
You have to know the classics if you want to cook modern food.
I shall never be converted, and I shall remain true to my old religion of the classics until my life's end.
I AM NOT about making movies that would be forgotten. I want to make ONLY timeless classics. I don't care if it takes me ten years
You know that you can't make references to the Classics any longer and less and less to the English classics even.
The classics tell us that, in relationships, the one between teacher and student comes second only to the one between parent and child.
The classics are only primitive literature. They belong to the same class as primitive machinery and primitive music and primitive medicine.
I played Hamlet, I played Chekhov and Ibsen and all the classics.
Most of the literary classics are worth reading, if you've nothing better to do.
