Quotes About Material

I've chosen television because of the quality of material that I'm offered, not being a writer, so I've turned a lot of features down.

There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.

I really think that as good of a job as you do as a writer, you're absolutely indebted to the actors that have to deliver that material.

My background is really being a writer's actor - that seems to be the way I work best, bringing out the best of writing. There's a whole range of acting skills, and some people can be astonishing with very poor material. That's not me; my skill is essentially unlocking the writing.

I'd like to encourage people to please keep reading-and most importantly, to please keep trying new writers. The only way we can bring fresh new material into the field is if people go out and buy it.

You need the words, you need the script, you need the material, you need the commitment, you need the passion, it's like we depend on writers, we depend on producers, directors depend on us and once things are in the divine order as they happen.

What we need is more women writers, writing for older women. There are some actresses who have production companies and create their own material, and I truly admire that.

It's also that comedians don't have the kind of narcissism that actors have. They're writers who perform their own material. It's more interesting. And they're sexy because they risk more. Stand-up comedians risk more than anyone.

The comedians all finished their acts with a song. They would get a certain amount of money from the song publishers and would use that money to pay the writers. None of them paid very much for their comedy material, but it all added up.

In 'A Poetics of Optics,' Equi writes that 'all images bank on alchemy.' This idea captures her fundamental sense of poetry as turning common material into something rare and valuable.

It's true and it's easily said that language is material, and something does materialise as one writes.

But I really do have a soft spot for the solo shows. Any musician who writes and sings will tell you that's the center of it, that is it. It's almost like there's something church-like about it and you gotta go back there, if you're a songwriter that sings your material.

The dream, I think, with any project is it starts with an idea, and then somebody writes it, and the writer hopes that a director comes on and makes this piece of material visual, and both the director and writer hope that they can have actors come in and bring something to it that neither one of them expected, elevating it along the way.

The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.

So far from realizing philosophy, the spectacle philosophizes reality, and turns the material life of everyone into a universe of speculation.

Sometimes I believe that this less material life is our truer life, and that our vain presence on the terraqueous globe is itself the secondary or merely virtual phenomenon.

Sometimes, I believe that this less material life [of dreams] is our truer life, and that our vain presence on the terraqueous globe is itself the secondary or merely virtual phenomenon.

We may guess that in dreams life, matter, and vitality, as the earth knows such things, are not necessarily constant; and that time and space do not exist as our waking selves comprehend them. Sometimes I believe that this less material life is our truer life, and that our vain presence on the terraqueous globe is itself the secondary or merely virtual phenomenon.

Sometimes I believe that this less material life is our truer life, and that our vain presence on the terraqueous globe is itself the secondary or merely virtual phenomenon. - Beyond the Wall of Sleep

tradition emphasises the uselessness of material barriers in halting a witch's notions

Podemos suponer que en la vida onírica, la materia y la vida, tal como se conocen tales cosas en la tierra, no resultan necesariamente constantes, y que el tiempo y el espacio no existen tal como lo entienden nuestros cuerpos de vigilia. a veces creo que la vida menos material es nuestra existencia real, y que nuestra vana estancia sobre este globo terráqueo resulta en sí misma un fenómeno secundario.

Similarly, modern religions that legitimize material wealth seem to be attractive, spreading fast at the expense of more austere variants, while religions that demand human sacrifice have not really stood the test of time.

when the last war has come and every man has been provided for, no ultimate peace is established on earth: the power-accumulating machine, without which continual expansion would not have been achieved, needs more material to devour in its never-ending process. If the last victorious Commonwealth cannot proceed to "annex the planets," it can only proceed to destroy itself in order to begin anew the never-ending process of power generation.

If I have the option, I always read the paper or a book or something I can touch and destroy in my own hands.