A Quote by Scott Rudin
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.
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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.
You never know how things work and what exactly is going to grab an audience. Sometimes even the best material and the best collection of people interpreting that material just for some reason doesn't fly with people. There are a lot of TV shows or movies that maybe aren't as good as others that do work when it comes to finding an audience. It's a mystery, that whole thing. If somebody figured it out, this would be quite a great industry.
A lot of modern film scoring is about a lack of themes, so I try to find ways of using music that doesn't necessarily have thematic material in it to make the points when there is thematic material even stronger. It's cool to be able to combine old and new.
My writing is of a very different kind from anything I've heard about. All this mythological material is out there, a big gathering of stuff, and I have been reading it for some forty- or fifty-odd years. There are various ways of handling that. The most common is to put the material together and publish a scholarly book about it. But when I'm writing, I try to get a sense of an experiential relationship to the material. In fact, I can't write unless that happens ... I don't write unless the stuff is really working on me, and my selection of material depends on what works.
Every once and a while somebody writes a script, but even regardless of what age you are, most of the actors would all agree that it's all based upon material and the material has got to spark with you. It may be great material but you think it's great material for somebody else. Or it's great material and I'm perfect for it. So, you just have to make that judgment and if you feel in the mood to do it.
But those dealing in the actual manufacture of mind are dealing in a very explosive material. The material is not merely the clay of which man is master, but the truths or semblances of truth which have a certain mastery over man. The material is explosive because it must be taken seriously. The men writing books really are throwing bombs.
I think about material that could work in the novel or story as I'm writing. I see if I can get there through what's happening with the character. But it's by inclination. It's not "At this moment this will happen." Usually with my characters you can't tell what has induced them to do anything. That's because, from my understanding of reality - which is always subjective - everything is overdetermined.
When the material written is very good then half of your work is done by the writer itself. When there's a well-defined character written, then the attempt is to be as honest to the material as possible.
The reasons you have for doing a movie will vary with the way your life is going. There was a time when a made a some movies because I felt I needed to work. And I didn't think about the material as much. But sometimes I've thought about the material a lot and thought I was doing the right thing, and it didn't work out.
It [moviemaking] is not really done on a yearly basis. It's about how the material, and when the material comes in. If you develop your material and the script comes in great and you can attach a director and a cast and go off and make it, then I could make, I don't know, six [movies] a year. Or I could make one. It really depends.
We must remember that everything depends on how we use a material, not on the material itself... New materials are not necessarily superior. Each material is only what we make it.
A comedy club is a place where you work out material, you're trying material.
It's very hard for a studio to take a chance on a piece of original material. They used to have the fall-back of DVD sales. They had ways in which they could safely make an investment in a piece of original material, and those opportunities aren't necessarily there anymore.
In general, I feel, or I have come to feel, that the richest writing comes not from the people who dedicate themselves to writing alone. I know this is contradicted again and again but I continue to feel it. They don't, of course, write as much, or as fast, but I think it is riper and more satisfying when it does come. One of the difficulties of writing or doing any kind of creative work in America seems to me to be that we put such stress on production and material results. We put a time pressure and a mass pressure on creative work which are meaningless and infantile in that field.
The primes are the raw material out of which we have to build arithmetic, and Euclid's theorem assures us that we have plenty of material for the task.
I extract what I consider the best material from different sources. But often the material I perform comes from a very strange location in history, which are minstrel shows.
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