Barbara Harbach Quotes
I have written six symphonies, they are smaller-scale works. I seem to emit my themes, work them out, combine and intertwine them, and then come to a close. I usually feel that there are no superfluous extras, but probably most composers feel that way about their works.
Quotes to Explore
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If you're going to play the game properly, you'd better know every rule.
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Every time you work, you have to do it all over again, to rid yourself of this dross. I suppose for a person who is not an artist or not attempting art, it is not dross, because it is the common exchange of everyday life.
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I work so hard, but... everything just goes my way! It's insane!
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Sometimes those big bloated superhero movies take themselves too seriously compared to the material they were based on. Am I going to listen to psychoanalysis from someone with a mask?
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There were so many pretty girls coming into the salon as clients, and others working in the salon. And I thought, 'Hmm. This is rather nice.'
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I was taking my first uncertain steps towards writing for children when my own were young. Reading aloud to them taught me a great deal when I had a great deal to learn. It taught me elementary things about rhythm and pace, the necessary musicality of text.
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When I was 23, I founded an organization called Dress for Success, which is now in more than 100 cities in 8 countries and has helped a million women transition from welfare to work.
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Long before we understand ourselves through the process of self-examination, we understand ourselves in a self-evident way in the family, society and state in which we live.
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People who attack others need rationalizations for doing so. We undermine those rationalizations.
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With all of their benefits, and there are many, one of the things I regret about e-books is that they have taken away the necessity of trawling foreign bookshops or the shelves of holiday houses to find something to read. I've come across gems and stinkers that way, and both can be fun.
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My work always presents problems in our society. Those problems may be anything from injustice to freedom, and everything related to humanity.
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I always send new writers to 'Writer's Digest Books' line-up of how-to books. I read them all when I was starting out, and they were very helpful.
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Life is not long, and too much of it must not pass in idle deliberation how it shall be spent.
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I just want to show the fans my big smile and play the game that I love.
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I saw that nothing was permanent. You don't want to possess anything that is dear to you because you might lose it.
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The 'New York Times' reviews of my work have been evenly divided - favourable and unfavourable.
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I've actually had a copilot come out of the cockpit on a trip from L.A. to New York and ask me about Charles Manson.
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When you start out on a project as an actor, you know, you approach the character from the standpoint of maybe writing a list - even if it's a mental list that you make - of the adjectives that the character has or that character possesses.
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Physics is, hopefully, simple. Physicists are not.
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My hair's been every color. My hair's been all over the map.
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I'd say there's more of a difference between a play and movie to TV than there is between TV and movies. But there's something involved in the repetition of things that require something different from me in order to sign onto a script.
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I have this nightmare that one day I will have to look at every picture I've ever taken with people in an airport or in bars or restaurants, and it will make me very sad.
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The problem with prototypes is they don't always work.
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I have written six symphonies, they are smaller-scale works. I seem to emit my themes, work them out, combine and intertwine them, and then come to a close. I usually feel that there are no superfluous extras, but probably most composers feel that way about their works.
