Quotes About Material

A miracle is when you take action on your goals, and create the visible from the invisible. Transform your thoughts and dreams into the material world, from planning, hard work and determination.

We're stuck in the concrete age. Concrete has really become this ever-present material that's almost impossible to get away from. It's cheap, abundant, and easy to work with, and to an extent, that's good.

I had the training at drama school where I studied Shakespeare and Brecht and Chekov and all these period historical playwrights and I think that I responded to the material.

I am a political human being. I have - that's one of my interests. I studied political science in college. I was actually going to get my Ph.D. in poli-sci. And a lot of my material from early on in my career dealt with politics, so I've always considered myself as somebody who enjoys political humor. So I'm not going to stop.

'The Dice Man' is an anti-establishment cult novel, and you don't normally make studio films from such dark comedy material.

The studios basically, besides developing some material, their strength is distribution. Distribution in any other business is a cost that you incur. You know, in a trucking business, you eat it. In a film business, distribution is a profit center.

I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.

Well, I think it can be quite helpful to be working on a character who actually existed, historically. Of course, you might have material to study and help you create the character.

I'm a storyteller, and I have really good material to work with: I've been studying magic and the occult since about 1983.

Polymer chemistry provides an excellent means of studying metathesis catalysts: miniscule catalyst loadings have the capacity to generate large amounts of polymeric material, the structure of which can provide a historical record of catalyst activity.

Think about doing a bunch of stunts in leather. What does leather do? It doesn't stretch, it rips.

It's funny: as a director, there are movies you make because you're passionate about getting your vision across, and you know that you're vision is different than anybody else. In those cases, you take the plunge, and it works, or it doesn't. You make the stylistic choices based on how you feel about the material.

The water was like a physiological stimuli to the subconscious that overwhelmed people with too much psychoanalytical material, you might say. People could do 10 breathing sessions without the water, and then they did breathing sessions in the water.

You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are all aspects of choice.

Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.

I never defend my material. Comedy is subjective.

I never want to be in a position where I have to defend my material. It's too subjective. It's for other people to defend or not defend.

I've always had an abundance of material about the subjects of my biographies.

It's very eclectic, the way one chooses subjects in the movie business, especially in the commercial movie business. You need to develop material yourself or material is presented to you as an assignment to direct.

There isn't any one material that's mine. It all depends on the context. For example, I did a house that had the most exquisite marble applications. That sounds ostentatious, but it wasn't, given the context. The color white I subscribe to extensively. I love thinking about color, but I often go with white.

The body is the substance of the stone.

Substance is enduring, form is ephemeral.

I maintain also that substances, whether material or immaterial, cannot be conceived in their bare essence without any activity, activity being of the essence of substance in general.

Everything is raw material. Everything is relevant. Everything is usable. Everything feeds into my creativity. But without proper preparation, I cannot see it, retain it, and use it.