A lot affects the outcome. It boils down to scheduling and the commitment of the network.
Because I don't take money, I'll go anywhere and do a benefit concert with almost any orchestra.
Every time I hear, Cut. Print, something cold and electrical goes off in my head, because I'm never going to change that film.
Family means no one gets left behind or forgotten.
High school music teachers... nobody makes a living off it.
I always meet and greet afterwards.
I am certainly not a mainstream religious man.
I am not a long-run actor. I admire actors who can do that.
I can't teach, so an orchestra that is not above a certain level of competency would sound worse than it is under me.
I had a meeting in LA in which they took a really overstuffed hour and a half. It was as close to old Hollywood as I remembered it in the last 20 years.
I love being in the middle of it - listening a bar ahead, helping people achieve a performance, and hopefully not getting in the way of them!
I love pulling people into concert halls who might not otherwise go and getting their ears tuned.
I think our spirits are exceedingly important. I love the notion of congregating for the purpose of being uplifted without words.
I went through three hours of makeup. And then you go through the chemical burns on your face trying to remove the stuff.
I will never master this craft. Orchestras are very, very forthcoming with me.
I'd forgotten I'd done the anime called Spirited Away, the English version of a Japanese film.
I'll always say if something I did isn't stellar. I'll find ways to let it be known that I am not among the soul of this project.
I'm actually recording for PBS, doing some pickups for a narration I did on Chicago. When you're doing a biography of a town, I'm your voice!
I've only got about a 3-hour window for recording. After the two-and-a-half hour mark, you can't hear critically what you're doing anymore.
I've played Lear three times, I would love to do it again.
If it's right and true, it's listened to and accommodated.
In television you go in with this operating system that it is a crapshoot.
It's rare to be treated like a friend you haven't met in a Hollywood meeting.
It's really important to stay engaged and involved in the character.
Kids now are so used to surround sound and the power in theater speakers, that the concert hall is a disappointment to them.
My father, who died a few years ago, was a good, simple, very honest man. His faith and affection for his family was just unassailable, without question.
People are nice enough, but you can hear the giant tick of the second hand. People are so harried.
Showing up to workis just frosting on the fudge, because the writing is so good.
Something happens to us all when we experience something as a unit that doesn't occur when we're on our couches or holding our little portable DVD players.
Spirit is not present in digital. You can tell when performers are committed. All you have to do is offer yourself and be affected by it.
The ability to move air by an orchestra is finite decibels is under a rock concert.
The world moves so quickly. We need more and more the things that are true, because we embrace them and offer our spiritual credulity to them.
There are a couple of roles I haven't played that I want to. I would love to play Shiloh.
There are moments when you wish you had had two more rehearsals, but the architecture is there, and the playing is often more than competent.
They're writing novels every week where most hour shows are writing novellas. Nothing wrong with that, but I prefer the novel.
Very often when I go in to meet for movies or pilots, I'm put on videotape. I hate the notion that that tape is going to sit on a shelf and never get better.
Very often, I don't make it through moments of recording because it is genuinely funny and absolutely ridiculous that a 60-year-old grown man is making these noises.
We lament the speed of our society and the lack of depth and the nature of disposable information.
We're not puppets on a string, but the shows are, and they get dangled and placed opposite one another. It's a business. There you are.
What we have to get clear to kids is that when you offer your stillness and open yourself to the experience of music, it pays you back more than you give.
When something really extreme happens, you have to find a way to embrace that and include it in how you think about the character. Sometimes it's not easy.
Writing is hard work. Generating stories that catch people's attention and holding it are very difficult.
You do the best you can, then you look at the result and if it doesn't cut it, admit it because everybody is going to see it.
You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you.
You read each script as you get it and you try not to contradict what you've done before and keep the sense of evolution present.
Stiers played the French Horn in the orchestra at Julliard.
Stiers has worked at Harvard as a theater games teacher.
Stiers was a member of the Old Globe Theatre Festival in San Diego. In 1984, he directed Scapino, one of the Globe's award-winning productions. Some of the Globe's productions that he acted in were King Lear and The Tempest.
One of Stiers' hobbies is listening to classical music.
David Ogden Stiers: (In response to a question on if people call him Dave.) Not and walk away without a limp. I hate being called Dave.
Stiers was never formally trained to conduct a choir.
Stiers preformed in The Magic Show on Broadway.
Stiers has been in a number of animated movies: Cogsworth the clock in the popular movie Beauty and the Beast Fenton Q. Harcourt in Atlantis: The Lost Empire Archdeacon in The Hunchback of Notre Dame Governor Ratcliffe in Pocahontas Dr. Jumba Jookiba in Lilo and Stitch Nicky Flippers in Hoodwinked
Stiers attended North Eugene High School in Oregon.
Stiers an avid fan of classical music, and has conducted many orchestras, including the Yaquina Chamber Orchestra, for which he is the principal guest conductor.
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