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I read cover to cover every jazz publication that I could and in the New York Times, every single d
I read cover to cover every jazz publication that I could and in the New York Times, every single d
I read cover to cover every jazz publication that I could and in the New York Times, every single d
I read cover to cover every jazz publication that I could and in the New York Times, every single d
I read cover to cover every jazz publication that I could and in the New York Times, every single d
I read cover to cover every jazz publication that I could and in the New York Times, every single d
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Ken Burns:
You can learn as much about the history from reading about the present as you can vice versa, thatKen Burns:
You know, you meet some people, and do a lot of interviews, and you come across a Buck O'Neill andKen Burns:
One of the things I really like about Ford's films is how there is always a focus on the way characKen Burns:
I grew up certain for a while that I was going to be an anthropologist, until film turned my head.Ken Burns:
I began to feel that the drama of the truth that is in the moment and in the past is richer and morKen Burns:
I don't use composers. I research music the way I research the photographs or the facts in my scripKen Burns:
I record all of my music with authentic instruments in a studio before we start editing, doing manyKen Burns:
In most films music is brought in at the end, after the picture is more or less locked, to amplifyKen Burns:
I am passionately interested in understanding how my country works. And if you want to know about tKen Burns:
The genius of our country is improvisation, and jazz reflects that. It's our great contribution to