Zitat des Tages über Les:
My favorite is still the one that I started off with, which is a Les Paul Standard. I've played that at every gig I've ever had. And that's my starting point in the studio.
I think Les Moonves is the most highly overrated person in television.
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.
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.'
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.
I love' Les Mis,' and I owe it a lot, because I wouldn't have been born without it.
My first record I owned was by Les Paul.
Books guided my life from high school, and the greatest, most interesting, most provocative, funniest, smartest people who ever lived in the last 200 or 300 years wrote those books. I would fall in love with Victor Hugo and read not just 'Les Miserables,' but 'Bug-Jargal' and 'The Toilers of the Sea' and so forth.
It's fantastic to see 'Les Miserables' become the top-grossing film at the U.K. box office.
I love Les Beaux Peeps. Everyone in that band works together really well. I used to go out to see bands a lot; now it seems there just aren't any I like.
I didn't know I could sing until I auditioned for 'Les Miserables.' My friend was auditioning, and I wanted to audition too.
In the modern operas that 'Miss Saigon' and 'Les Miz' are, nobody breaks out into song from conventional book dialogue. Everything is sung from beginning to end, including the recitative.
I've dreamt of being in a movie musical for a long time. For some reason I never even thought 'Les Mis' would be possible.
I have decided to come back for Les Bleus.
Couture has a power that ready-to-wear can never have; the attention of les petites mains as they sew; all that love and belief goes into the cloth. That's what you feel when you wear it.
My mum bought discounted tickets for shows like 'Cats' and 'Les Miserables'; I became completely enamoured.
I use Gibson guitars; I prefer the Les Paul custom.
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.
My first guitar, a Fender Jazz Master, I traded it in for a Les Paul Deluxe.
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.
There's sort of an open offer to work with a guy in Los Angeles who does big band and orchestra arrangements who was at least an acquaintance to Les Baxter before he passed away.
A lot of my friends were a lot into theatre a lot earlier than I was. A lot of my friends were kids who were in The Broadway Kids and the kids auditioning for Gavroche in 'Les Miz.' I was never that kid. I was weaned on Michael Jackson. Not literally, because that would have been odd.
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.
I was always that kid. When I got ice cream, I put it in my eye. When I got my license, I got pulled over so many times for playing 'Les Mis' too loud.
Les Miserables is one of my favorite stories.
I was very inspired by Les Blank's film 'Burden of Dreams.' I think what's unique about his film and the two I've made is that they're close examinations of filmmakers and how their own emotional experiences reflect in the material they're rendering, and vice versa - how that material sometimes colors their own lives.
I damaged my health during 'Les Mis,' which I didn't want to mention in case it seemed like I was courting sympathy.
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.
My idol is Emile Zola. He was a man of the left, so people expected of him a kind of 'Les Miserables,' in which the underdogs are always noble people. But he went out, and found a lot of ambitious, drunk, slothful and mean people out there. Zola simply could not - and was not interested in - telling a lie.
I used to watch the Broadway 'Les Miz' and study it.
My plat de resistance is potato salad with garlic and olive oil which we press from the olives from my trees in the grounds of my home near St Remy de Provence. I have four hectares and take the olives down to the local community press at Maussane les Alpilles. I don't produce big quantities; it is just for the family and friends.
I tried a Les Paul when I was a lot younger. I tried the Les Paul, and because of the weight of the thing, it nearly dislocated my hip.
I have loved 'Les Miz' for so long. It was the first Broadway show I'd ever done.
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.
If I'm in the country, my big idea is to do nothing. It means talking, it means cooking with the leftovers in the fridge - l'art d'accommoder les restes - it means gardening.
The last thing the theatre owners wanted was for people who spent $200 to see 'Les Miserables' to come out again and see the real miserable children of America, right there on the sidewalk.
