The research period of a film is the most exciting part of the process, and filming is sometimes a letdown because when you're dealing with biopic material, the real thing is always much more intricate than the story told in the film.
The prime communities of the Southwest are survival communities. Their sustenance is governed by rainfall and wind direction. You can study little enclaves of plant materials, how they huddle together for protection. Some are nurse crops.
If you do a serious presidential bio, you want to supply the reader with maximum material because otherwise you're offending the reader. A president for many people is a serious thing and they want to know everything.
In a certain sense the past is far more real, or at any rate more stable, more resilient than the present. The present slips and vanishes like sand between the fingers, acquiring material weight, only in its recollection.
One of the hardest things I've had to deal with in my career is keeping my material topical even though I only release albums every three or four years.
'Words, Words, Words' was very much its title. It's just words, words, words and trying to show that I can pack as much material into an hour as I possibly could word count-wise.
In Los Angeles, parenting is a competitive sport. From Beverly Hills baby boutiques to kids' yoga classes, L.A. fuses high style, industrial-strength materialism, and parental outsourcing into our own unique version of child-rearing.
I never appreciated 'positive heroes' in literature. They are almost always cliches, copies of copies, until the model is exhausted. I prefer perplexity, doubt, uncertainty, not just because it provides a more 'productive' literary raw material, but ...
Sometimes a fresh perspective is all you need to get a second wind on the revision process. Try viewing your material on a different medium; it will shed a new light on the inconsistencies in the dark.
These are some of the characteristics of the state of mind which the creation and appreciation of haiku demand: Selflessness, Loneliness, Grateful Acceptance, Wordlessness, Non-intellectuality, Contradictoriness, Humor, Freedom, Non-morality, Simplic...
It's fun to deliver material on live TV because it's more off-the-cuff, but I like writing better. You really can measure the joke, think an extra second and nail the right reference.
It is the artist's function not to copy but to synthesise: to eliminate from that gross confusion of actuality which is his raw material whatever is accidental, idle, irrelevant, and select for perpetuation that only which is appropriate and immortal...
The core practice of magic is: The execution of a willed intent to create change in the material world, which either defies, hastens or purifies the consequences of natural cause and effect.
I do whatever I do. I go to the club. I work on material. While other people are sleeping, I'm awake. I always liked that. I like being able to drive when there's no traffic. It's almost like you own the street at night.
Writing for the stage is different from writing for a book. You want to write in a way that an actor has material to work with, writing in the first person not the third person, and pulling out the dramatic elements in a bigger way for a stage presen...
The big question is always, 'Eyes or lips?' I tend to go with the eyes because I've got a lot more material to work with now - and it saves me from reapplying lipstick! I'm a pretty low-maintenance person and it's too excessive to exaggerate both the...
I go into meetings with some film-makers and they literally have nothing to say, they're almost bored by their own material. I'd rather work with people who are very passionate and very animated about what they want to do. People who just want to tel...
First, you do a piece of material that begins and ends and has a flow; it's not chopped up as in a film, where in an extreme case you might be doing the last scene of the script the first day that you go to work, and you don't know enough about the c...
I still audition a lot and work really hard to get work. So I don't really walk around feeling like I've made it. My short term goals are really just to be creatively stimulated and to be excited about material I might be working on.
There aren't a lot of cover bands that do Boston material or do it well, and the reason for that is that they are hard to play. So we put a lot of work into it. The musicians that I've managed to surround myself with after all of these years are indi...
Dancers can get to see almost everything now. When I used to go into companies to make a piece, the dancers had hardly ever seen my work. Now they can watch it on YouTube. It means they're much faster at picking up material.
