Paul Hirsch Quotes

As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, rather than A jumping to B, has become foreign.

It's rare that scenes last more than 2 or 3 minutes, so sound helps segue from one scene to another.

When I started out, I preferred to watch my films without music, as its presence tends to mask the underlying pace of the film. I felt I could feel the rhythm of the film better without music to influence me.

When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.

Writing, of course, is writing, acting comes from the theater, and cinematography comes from photography. Editing is unique to film. You can see something from different points of view almost simultaneously, and it creates a new experience.

You can make or break a picture in the dubbing room.

The first time I experimented with sound design was on 'Fruitvale Station,' where I recorded the BART train and manipulated it.

TTS was the unit that I was directly involved with the productions, and I'm still really, really proud of what we had put together, not just visually but musically at that time and age.

Post-production is kind of the death of hope. The money has been spent. The grand ideas are either there or they're not there. So music oftentimes has to compensate if there are issues, or it has to stay out of the way if the movie is working really well.

Godzilla' took two months because it required a two-hour-plus score. 'Imitation Game' was three weeks.

I'm there to tailor something very precisely and something very subtly to dialogue and the actor's energy. I'm there to bring out something that isn't spoken. 'King's Speech' is the perfect film to do it.

I love the idea of Pro Tools, but it doesn't seem as attractive to me in terms of the music-making side. It's great for recording, but with Logic you get the best of both worlds, the ability to do great tracking and producing something that sounds great as well.

I respect Srikanth garu, I worked as an assistant director for his film 'Radha Gopalam.'

There's been a great development with scale on TV, but my approach is always the same across projects, whether it's a video game, a movie, or a TV show: I always try to set up my sounds and my themes. I really try to stay with the characters and do the storytelling through the music.

I'm not a fan of these very cutty, handheld-y kind of films or TV shows, where a cut is just every half second or every two seconds, where you're desensitized to it. To me, a cut should say something and be impactful.

As a film composer I deal with short bursts of musical ideas that are defined to a large extent by what's happening on the screen, by not only narrative and action, but staying out of the way of dialogue, sound effects.

I always wanted to direct a film.

Eccojams are a very simple exercise where I just take music I like, and I loop up a segment, slow it down, and put a bunch of echo on it - just to placate my desire to hear things I like without things I don't.

I went to school for audio engineering, and I was around a lot of sound engineers over the summers in New York, so I'm pretty comfortable in engineering my own stuff.

Of all my dubbing projects, the toughest one has been 'Eega!'

It is not easy to deliver a good film and take the expectation of the audience one level higher every time.

My way into making movies - into making things is general - has been through performing.

There are some directors who don't like the set much. They like post-production, where you have all the ingredients in the can - you've got all the footage, all the music, the various effects - and then you have to do the alchemy necessary to make it all good, a long and very key process of putting everything together and making it into the cogent thing that you want.

There are lots of different parts of movie-making that I participate in, but my favorite part is the making of it. I'm scared, every day. I keep thinking someone's going to throw me the ball and I'm going to go, "Oh, wow. Oh, god. I just messed that up."

I'm happy to say that I have not been fired off a film. The score is usually the last thing to be done. So a lot lands on the scores shoulders. A lot of problems that seem to have nothing to do with the music gets blamed on the music , because it's relatively cheap to change, where as a reshoot etc is not. Music is often expected to help or fix bad cuts, bad acting, bad filming, bad timing, you name it.