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I love to make a one-pot meal - think stir-fry but in the French Fricassee. I start with what takes the longest to roast and then add vegetables, fresh herbs, and starch until the meal is complete in one shot.
Céline Labaune has the knowledge, passion and dedication to finding us only the best truffles from the most reliable source of truffle pickers. It is always a pleasure and a relief to work with the ones who care the most!
I never go to Vancouver without stopping by Thomas Haas' shop for the best chocolate in North America. A former chef patissier at Daniel, he returned to his hometown and created a top quality brand by sticking to his passion.
I had a lot of fun creating some restaurants with a casual note to it, such as DBGB, for example, where it was about bangers and beers, being a very casual brasserie with very affordable food but very interesting homemade program.
I actually don't think there is any difference between French and American cuisine. French cuisine was always about discipline, about ingredient, about creativity, but also about simple. I see America as very similar in these rights.
I take so much pleasure at seeing customers who are happy: happy with what they eat, but happy with their friends and sharing a great moment together, and I think that is more important in life than the endless pursuit of perfection.
In any sauce you make, start with a concentration of flavors with great acidity. You then re-dilute the sauce, but the proportion of liquid you add should not be so high that you wash away the extracted flavor you're aiming to create.
For me, good service is efficient and discreet; it's that critical balance. As soon as the client sits down, the communication flow has to start. Customers need to feel that the waiters are supervised - that there's a system in place.
The biggest thing is education for young chefs and how they should focus on one cuisine rather than trying to imitate too many. It's like art - you can see the cycles from many past artists and new artists being inspired by past artists.
There was no Internet, not even many cookbooks except the old reference books. So we would sit down at night, a group of six chefs, and we'd exchange recipes and each talk about how we were doing things. It was the only way to learn new ideas.
I did all of California from north to south. I did Florida from north to south. I went to the Midwest. I spent time discovering the culture because I thought I was going to stay in America for only two years. Then I decided to come to New York.
Le Cirque at first was one of those general French restaurants in town, which were cooking more or less the same food. At Le Cirque, I wanted to do something different while respecting the foundation of the restaurant. I did that through the menu.
I was at Plaza Athénée, where a jacket and tie was required. Andy Warhol came with his turtleneck, because he was always wearing a turtleneck, with a tie over it, and we gave him a jacket - so he had a jacket and tie over the turtleneck. It was pretty cool.
I think Spain will always remain inspirational, and I think French cuisine will continue to be very French and yet very relevant with its time and keep evolving. But the last thing you want for it is to become too trendy and confusing. It has too much history.
Every time - well, not every time, but in celebration of a great review or a great accolade, I take the team of Daniel to Katz's Deli for lunch. We take the trip on the subway, we were like 40 or 50 people, and we go in the back room and have a pastrami sandwich.
I enjoy what I do because it keeps evolving - when I was a cook, I wanted to be a chef de partie; when I was a chef de partie, I wanted to be a chef; when I was a chef, I wanted to be a restaurateur, and now I am a chef entrepreneur. I am still fulfilling my dream.
A lot of chefs don't have a natural sense of economy. I was with one guy the other day and I had to show him how to peel a turnip, because the way he was peeling turnips, he was throwing half of it in the garbage. It's not about being cheap. It's about being proper.
A lot of chefs don't have a natural sense of economy. I was with one guy the other day, and I had to show him how to peel a turnip, because the way he was peeling turnips, he was throwing half of it in the garbage. It's not about being cheap. It's about being proper.
I always had a lot of fun in America, with much more freedom than if I had tried to cook in France. I wouldn't have the same motivation or inspiration, and I wouldn't have cooked for the same kind of people in France, so it wouldn't have given me this edge I had in America.
In the springtime, we have softshell crab from Maryland, which I'd never had until I came to America. In the summer and early fall, we have striped bass, 'stripeys,' which come all the way up the Hudson River but mostly gather in the sound at the tip of Long Island, off Montauk.
I think in France, for example, we can say whatever we want about the French, but going out and dining is more about the intellectual moment to share with the people you dine with than trying to figure out what the chef did with that little piece of salmon or lobster and all that.
In Singapore, there is this life and locals and restaurants and then big casinos and an array of chefs, and even Miami is almost close to Vegas when it comes to an amazing presentation of chefs. But they don't have these massive hotels that have become their own culinary villages.
A beginner cook is going to have to be patient to really learn well. When you start to beat your master, that's when you're really starting to master the thing. But it's going to take a while. After that, you have to define what you want to be, who you want to be, where you want to be.
I wanted to work in a restaurant. Le Cirque was looking for a chef and they approached me. I was excited to be able to be part of this restaurant with an amazing reputation, but not a good one for food at the time. I made it clear that if I was coming to Le Cirque it was going to change.
New York has an amazing history of farming and fishing that goes right back to the Pilgrim Fathers. At its core are the four seasons, which are distinct, well-established and similar to those in Lyon, where my family lives: when it's snowing in New York, a week later it will be snowing there.
My favorite thing is when I go back and my mother cooks for me. Because it just throws me back the same flavor. And I try to modify things: I say, "Why don't you do this and that?" My mother is older, but she cooks a lot, and she doesn't want to change anything. She's a very good cook, and my grandmother was an amazing cook.
Something I learned when I was very young: with cooking, it doesn't matter where you are; you can always cook. You can end up in small village in Peru where somebody's cooking, take a spoon and taste it, and you might not be too sure what you're eating, but you can taste the soul in the food. That's what is beautiful with food.
Loyal customers, or customers who recommend their friends, give me the most pride. I think that is the biggest compliment I can get. I think in the restaurant business, it takes patience from the customer to spark up a relationship with the restaurateur, but it takes also work from the restaurateur to spark up a relationship with his customer.
What I bring - my team and I, because it's not only me - is this sense of elegance and casualness, and no pretension. There's also a sense of loyalty - loyalty to my customers, but also loyalty from my staff. Also, I think a sense of perfection; I'm a bit of an obsessed freak with perfection. I think I bring craziness sometimes, because if there is someone who's going to dare do something crazy, it's me.
We are in the top five restaurants in New York. Daniel is about luxury. It's a luxury where when somebody has never come they maybe expect to be intimidated, but once they have the experience I think they feel this is a welcoming, fun and great experience to have. The menu, the price point, the level of service, and class we offer to people... I think it's incredible. Not every restaurant can be like that - it's a commitment, in terms of dedication to excellence.
Receiving the president of the United States in your restaurant is a big thing. Obama came three times. There's a sense of pride when you're one of few who has had a chance to spend an evening with the president of the United States. Despite if he's Republican or Democrat, we accept them all. Also, I remember days when I had Julia Child coming, with close friends. I had a great relationship with Julia. So those moments are more of affection and admiration than of fancy pride.
I have a sense of respect: respect for my suppliers, respect for the staff, respect for the customer - as long as they respect us. When we have a customer who is playing a provocative, disrespectful game, then we just prefer to just throw him out, rather than deal with it. Some people, sometimes, are unhappy themselves. And that can really create a frustrating performance to us and to the staff and all that. I don't throw customers out as much as I used to. In the old days, "You don't like it? Get out!" I'm much nicer now.
Bill Blass came in all the time, and I would make him roast chicken with spring potatoes and spring porcini with spring onion. And baby artichokes. And never, ever did he find a better chicken. Norman Parkinson, one of the greatest photographers alive, came every lunch to Le Cirque. And every time he would clean up his plate with his bread and then he would take his marker and write on the plate how much he loved the food. I think at Le Cirque I learned how to make real food, which is what people crave, not just gimmicky things on a plate.