A Quote by Michael Hersch

As I see it, the major requirements for a strong and able rendering are an understanding of a work's structure, voicing, and trajectory; an ability to execute the details on the page from largest to smallest; technical command, and hopefully a connection with the overall expressive impulse (though the latter is not at all necessary to give a good performance).
I don't define myself by my body's ability to execute gorgeous asana anymore. I'm all about taking care of my temple and understanding that its requirements change with age and time.
Nature has but one plan of operation, invariably the same in the smallest things as well as in the largest, and so often do we see the smallest masses selected for use in Nature, that even enormous ones are built up solely by fitting these together. Indeed, all Nature's efforts are devoted to uniting the smallest parts of our bodies in such a way that all things whatsoever, however diverse they may be, which coalesce in the structure of living things construct the parts by means of a sort of compendium.
I just like voicing films in general. I do a lot of documentary work and it's a short hop really to narrating a character, especially if you're on film and you're there in a visual way. It sounds obvious, but voicing an animation really focuses you on the way that you're communicating through your voice. It's a very specific ability that you need to be able to have in order to pitch it just right.
Good architecture is necessary to give programs enough structure to be able to grow large without collapsing into a puddle of confusion.
Thought and speech are of a thinking and speaking subject, and if the life of the latter depends on the performance of a superimposed function, it depends on fulfilling the requirements of this function thus it depends on those who control these requirements.
There's a tendency at the senior and middle-manager level to be too big-picturish and too superficial. There is a phrase, "The devil is in the details." One can formulate brilliant global strategies whose executability is zero. It's only through familiarity with details - the capability of the individuals who have to execute, the marketplace, the timing - that a good strategy emerges. I like to work from details to big pictures.
The magic behind every outstanding performance is always found in the smallest of details.
For me, being able to engage with the details when necessary, when there's a challenge, when there's a particularly important pivot, yes, you have to do that. But in general, a leader needs to trust their commanders, needs to trust the team they've assembled, to actually execute in the right way.
No word floats without an anchoring connection within an overall structure.
What really made me a performance artist was that I was able to step back and assess. I've always had [that ability], but it was coming to an understanding.
It's an amazing feeling to feel that I was able to get a personal connection to the work, through the work of it. But I like the idea that I was able to tell a bunch of people's stories even though I didn't know them.
You have such strong words at command, that they make the smallest argument seem formidable.
As soon as we surrender the principle that the state should not interfere in any questions touching on the individuals mode of life, we end by regulating and restricting the latter down to the smallest details.
I honestly think the reason I've been able to improve year by year is work. Work with the team, work with my ability, focus on all the single details.
When there's no technical problems, if you did the right casting, and the scene is well written, the actor will give you a strong performance with his intuition right from the start.
My whole life, my strength was my technical ability and my vision and being able to see certain things on the field.
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