A Quote by Tom Skerritt
Obviously, if a director doesn't communicative a clear, relevant vision of the material, it will not succeed no matter how good the material.
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I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.
I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.
I read round the subject, I make a skeleton outline, and then I start work in the relevant archives. During the marshaling of the material, I copy the material from each archive file across to the relevant chapter in the skeleton outline.
Evolutionists ... have a prior commitment, a commitment to materialism. It is not that the methods and institutions of science somehow compel us to accept a material explanation of the phenomenal world, but, on the contrary, that we are forced by our a priori adherence to material causes to create an apparatus of investigation and a set of concepts that produce material explanations, no matter how counter-intuitive, no matter how mystifying to the uninitiated. Moreover, that materialism is absolute, for we cannot allow a Divine Foot in the door.
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.
I am convinced that material things can contribute a lot to making one's life pleasant, but, basically, if you do not have very good friends and relatives who matter to you, life will be really empty and sad and material things cease to be important.
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.
People ask me how I sang the role of the 'Phantom' 1,700 times. And I say that it's down to good material. If it did not have good material, I would have had a major problem doing it for that length of time.
I just really try to stay focused on what the material is wanting to do. My basic assumption is that no one will ever listen to it anyway. It's fidelity to the material. That's my contract: It's me and the material. And if it connects with other people, I'm thrilled.
I will work with a director who has good material because at the end of the day, that's what counts.
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.
We already have the material means to eradicate deep poverty and thereby eradicate hunger. We have the material means to begin the tremendous clean up of the environmental messes we’ve created. We have, I believe, the psychological, emotional and spiritual means to create a world without war. We have the material means to create a world in which unnecessary human suffering has been drastically diminished. My vision for the future is that we do those things. And I think we will.
The edifice of science not only requires material, but also a plan. Without the material, the plan alone is but a castle in the air-a mere possibility; whilst the material without a plan is but useless matter.
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.
I will do a lot of research and create a lot of material for use in one painting. And then I go on discovering and working with a whole other range of material in another painting. I'm interested in a fairly comprehensive and orchestrated synthesis that might bring about a new situation consisting of this hidden material. I'm interested in hidden source material.
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