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Paul Hirsch

"The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually."

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"The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually."

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Amber Hurdle

"The things that I've done that have totally been remembered, they've always started with the same kind of engine, they've always started with someone saying 'I have to make this film - I'm going to make this film whatever the odds'."

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"It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable."

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"I was definitely surprised when Talk Radio took off as a play. As a film it has become somewhere between a popular thing and a cult thing."

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"I lived in Vancouver, where they film so many things. So it gave me a good shot at it."

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"I've never made a film using dialogue or speech."

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"I'm a film doll. But I'm enjoying it. So I'm gonna keep doing it."

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"I got an agent and went up for the part of my first film, Five Gates to Hell."

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"Looper is another great film."

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"The Witch film, was one suspensed and good made one, it could be well made with some more victims... But..."

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"I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film."

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Paul Hirsch
"I have always had a certain rhythmic approach to my work."
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Paul Hirsch
"I have been typecast in my career, although the type changes with the decades."
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Paul Hirsch
"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."
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Paul Hirsch
"The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually."
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