Juilliard Quotes

Do you want to be an actor, or do you want to be a celebrity? I made that decision when I went to Juilliard. I wanted to be an actor. So, if I get the opportunity to be an actor and do some cool, fun and interesting projects, I’m going to do that.

If I get the opportunity to be an actor and do some cool, fun and interesting projects, I'm going to do that.

I went to school. I went to Juilliard. You spend 13 hours a day on voice and speech. Now I realize why.

At Juilliard, I couldn't afford to have fun. I went to school and stayed home.

Juilliard definitely emphasizes the theater. They don't train - at all really - for film acting. It's mostly process-oriented, pretty much for the stage.

Not even my excellent training at Juilliard prepared me for my first movie role, where I played a transsexual who falls in love with a military guy in 'Soldier's Girl.

When I arrived in New York I was definitely the worst player in town! It was just a measure of how far I had to go. It took years, while I was at Juilliard I worked different weekends with different people.

Almost every profession has an outstanding training ground. The military has West Point, music has Juilliard, and the culinary arts has The Institute.

I think the seed was planted when I was a teenager, and it took me until I got out of Juilliard. At Juilliard I was just learning to be a composer, but I was also learning how to manipulate computers.

They didn't really encourage my goofy, comedic side at Juilliard.

Pianists of extraordinary talent, such as Christina Petrowska,spend a large part of their early lives perfecting technique…Miss Petrowska,a Canadian with a phenomenal ability to play the most difficult music cleanly, gave a demonstration of her achievements at Carnegie Recital Hall. A product of the Juilliard School who studied with Karlheinz Stockhausen and Gyorgy Ligeti in Europe, Miss Petrowska built most of her program around fiercely difficult contemporary works. She has fingers that work like chrome-plated pistons, and her high-seated position let her bring pulverizing power to bear.

I feel like I owe Juilliard everything... coming from Kentucky at age 17, having a school like that giving me a chance. And if you cant afford it, you can get a scholarship.

I'm at the National Theatre School, which is like the Juilliard of Canada.

I went to Juilliard in New York and used to do cabarets just for fun. Occasionally, I would get together with a jazz musician and play at a restaurant for cash. And I've done some background vocals for recording artists.

I've had this unbelievable amount of good fortune and I'm just so thankful for it. But at the same time I feel exceptionally guilty. I have so many friends who are talented graduates of Juilliard and are exceptional actors and I'm the lucky one that somehow got such a fortunate break.

I actually was a ballet dancer - I studied ballet from three until 13 - but like very seriously, that's what I wanted to do. I wanted to be a contemporary ballet dancer. I wanted to go to Juilliard.

It was one of those times when you can feel the air in a room. Everything stood still. I can remember the T-shirt I was wearing and the bag I was carrying. I don't think I breathed for 15 minutes. It was a devastating moment. They said they wanted me to experience more things. OK. I began contemplating things. Maybe I should take LSD or become a hooker. I left Juilliard and was just meandering and drifting for a while. Thank God I had support from my family and close friends. Bad times.

I think part of the bad thing is that skill is emphasized so much that a lot of people, by the time they get to Juilliard, well I think they kind of forget why they got into music in the first place and if they're performers - this is a simplification, but a lot of them are trying to win a competition and play more accurately, or better, or more beautifully, whatever can be measured, than somebody else.

I thought I should go to New York because it was the place to go to study. I went and tried to get an application from the Juilliard School but they wouldn't even give me one because I didn't have my high school graduation.

Before I got to Juilliard I remember that I had learned the first few bars to all the Sachse etudes in several different keys because I knew what was coming. So in the first year he was throwing these Sachse etudes at me and I would knock off the first eight bars and fly right through it. He would say, 'Alright, that's good enough.' But, in my third year, he said 'Get out the Sachse book.' I couldn't understand why. So I pull it out and he said, 'Here, start in the middle.' I was in trouble! He said, 'Hey Balm, I took you for a guy who knows how to transpose-you're nothing but a bugler!'

She left for Juilliard the day after Labor Day. I drove her to the airport. She kissed me good-bye. She told me that she loved me more than life itself. Then she stepped through security. She never came back.

Some friends of mine in the class ahead of me in college were auditioning for graduate school in New York, and then a few of them got into Juilliard, and it sort of opened my eyes. I didn't really know anything about it, but it opened my eyes to a possible next step after school, where I could just deepen my knowledge and also not be responsible for life and stay in school.

When I graduated from high school, I had artistic and academic scholarships, and I was trying to figure out what to do. I decided to audition for the Royal Academy of Dramatic Arts, Juilliard and the National Institute of Dramatic Arts in Sydney, Australia.

I was a regular kind of academic music student. I was at Juilliard. I had to study all the contemporary music of the time, and changing that language very radically was just a sign or a signal that I was going to try to do something very different. I find that that's what I feel closest to. I found no real inner response in me in a non-tonal language.