A Quote by Larry David

There's also a certain rhythm to the way Jews talk that might be funny. — © Larry David
There's also a certain rhythm to the way Jews talk that might be funny.
But I am Northern myself, and there is a certain rhythm of Northern speech that is very comical: that combination of the choice of language and the speech rhythm, which in itself is very funny.
For me the Holocaust was not only a Jewish tragedy, but also a human tragedy. After the war, when I saw that the Jews were talking only about the tragedy of six million Jews, I sent letters to Jewish organizations asking them to talk also about the millions of others who were persecuted with us together - many of them only because they helped Jews.
My voice is distinctive: there's a rhythm to it, and also, it's funny. I was just blessed with a funny-sounding voice.
Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.
It's funny: I look at songs, and I guess they each tell a story, and the different songs talk about different things. But they're unified by the rhythm underneath and the way that we decided to arrange and play them.
I'm a great believer in conversational rhythm. I think in terms of rhythmic dialogue. It's so easy, you can talk naturally. It's like peas rolling off a knife. Take the great screen actors and actresses, Bette Davis, Eddie Robinson, Jimmy Cagney, Spencer Tracy. They all talk in rhythm. And rhythm and movement are the life of the screen.
I've got music in my head when I fight. I've got a certain rhythm, a certain way of fighting, a certain relaxation where I can let myself go.
But the idea of using the Apache resistance, one, it works effective to actually get German soldiers to think of Jews that way. You know, and they're not just any Jews. They're the American Jews. They're Jews with entitlement.
I think maybe I became funny because as a kid, I was a Jew in a town of no Jews, and being funny just instinctively came about as a way to put people at ease around me.
I'm gonna play this game the way I want to. It might be serious, it might be a comedy, it might be a dramedy, it might be variety, it might be a talk show, whatever. There's no box.
Certain songs by hearing the rhythm, it tells you that is either a love song or you might be heartbroken or the songs give you the vibes and you just know that certain songs are militant that you have to write.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
Rhythm and melody enter into the soul of the well-instructed youth and produce there a certain mental harmony hardly obtainable in any other way. . . . thus music, too, is concerned with the principles of love in their application to harmony and rhythm.
I've got my own style on the guitar, sure, and I play rhythm in a certain way, and I use certain inflections. People have said that to me, and I understand it.
Rhythm is one of the principal translators between dream and reality. Rhythm might be described as, to the world of sound, what light is to the world of sight. It shapes and gives new meaning. Rhythm was described by Schopenhauer as melody deprived of its pitch.
I think you've got to accept that certain things are in process that you can't change, that you can't overwhelm. The chaos of our cities, the randomness of our lives, the unpredictability of where you're going to be in ten years from now - all of those things are weighing on us, and yet there is a certain glimmer of control. If you act a certain way, and talk a certain way, you're going to draw certain forces to you.
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