A Quote by Paul Hirsch

I have always had a certain rhythmic approach to my work. — © Paul Hirsch
I have always had a certain rhythmic approach to my work.
As a black woman, I've always had to work hard to earn my respect as a musician - and as a young woman, too. As a writer, in certain sessions or certain rooms people think, 'Who's kid is this? Who's this little girl?' I've had to prove myself.
I like creating these rhythmic patterns. These interlocking rhythmic things are really fun.
If you approach an opera as though it were something that always went a certain way, that's what you get. I approach an opera as though I didn't know it.
I think, until I was 16, classical music had just seemed like a little bit of a rhythmic wasteland for me. Coming from bluegrass, where one conducts oneself rhythmically, it seemed like such a different approach, and at that point the difference that I was noticing was a real turn off to me.
I believe rhythmic sensibility is always a product and extension of language, defined broadly, among other things. But it is an immediate product and extension - no time elapses between the exposure to language and the creation of rhythmic sensibility.
What the founders of modern science ... had to do, was not criticize and to combat certain faulty theories, and to correct or to replace them by better ones. They had to do something quite different. They had to destroy one world and replace it by another. They had to reshape the framework of our intellect itself, to restate and to reform its concepts, to evolve a new approach to Being, a new concept of knowledge, and a new concept of science - and even to replace a pretty natural approach, that of common sense, by another which is not natural at all.
My parents and two sisters were great musicians but my family's approach to music was always way more academic than mine. They were virtuoso players. But they were all impressed that I could sit down at a piano and find a melody. We had a different approach, we had mutual envy.
I thought we had opposite visions of electronic music. Tangerine Dream and Kraftwerk had a very robotic, mechanical approach. I had a more impressionist vision - a Ravel/Debussy approach.
What people don't always understand is that I established a certain lifestyle for my family back in the days of 'Species' and 'Mulholland Falls' and 'The Getaway.' I wasn't about to move my six kids into a trailer park. So when people offered me work, it wasn't always the best, but I had to buy groceries, and I had to put gas in the car.
Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.
I've always had a 'Work hard, play hard' attitude to life - I still do - but sometimes you get involved in something that needs a calm, methodical approach.
I've always been the underdog, and I've always had to work much harder than the next person just to get a look. But I feel like that's Black people as a whole, to be honest with you. We have to do so much more and work so much harder to get certain kinds of looks within this industry.
I do try to incorporate particular rhythmic and generally sonic motifs I discover in music as such, and if one thinks of language in a narrow sense, that, perhaps, suggests a possibility for a rhythmic sensibility that enters poetry from outside of language.
There are certain actors I think I can approach whenever I am working on something and Shah Rukh is one of those. He's somebody whom I'd love to work with.
A certain something, he felt, had managed to work its way in through a tiny opening and was trying to fill a blank space inside him. The void was not one that she had made. It had always been there inside him. She had merely managed to shine a special light on it.
I've always liked Richard Pryor. I've always responded to rhythmic profanity.
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