A Quote by Yohji Yamamoto
Just listen to the material. What is it going to say? Just wait. Probably the material will tell you something.
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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.
Simply, if you're working with good material, then it's right there, and you don't have to try so hard as an actor; you don't have to do so much. Just let the material sit inside you and let it come out. Just say the words. That was the main thing that I learned from doing Aaron Sorkin's work - say the words, and everything else will happen.
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.
When I say 'publishing is the new literacy,' I don't mean there's no role for curation, for improving material, for editing material, for fact-checking material. I mean literally, the act of putting something out in public used to be reserved in the same way.
Something like going to get the newspaper can increase your writing efficiency by taking you away from the material. When I'm doing other things, writing stuff will be swirling around in my head, and sometimes I'll see a new way into the material.
What I felt was, if you spend your life just writing fiction, you are going to falsify your material. And the fictional form was going to force you to do things with the material, to dramatize it in a certain way. I thought nonfiction gave one a chance to explore the world, the other world, the world that one didn't know fully.
You've just gotta go in and write from the heart and write the best material that you can and put it out. If one hits, hey, great. It keeps the legacy going. But you've gotta keep doing new material. It's the future of any band.
I always just wait for the right material to come to me. Many times people ask, "What have you been up To?" Well, I'm here and working. Just not in front of the camera as much as I'd like to be.
Anybody doing something brings something to it. It's not for me to say if it's "growth". Just by the nature of everyone has a different take on the material. Some people would.
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.
In the Marvel universe, vibranium has always been this material that absorbs kinetic energy. And any tiny bit of physics knowledge will tell you that that's really non-Newtonian. You can't just absorb energy, you've gotta change it into something else.
It isn't necessary that you leave home. Sit at your desk and listen. Don't even listen, just wait. Don't wait, be still and alone. The whole world will offer itself to you.
I have an agent in Hollywood and he's looking for material. If I get the offer and I feel I relate to that material, I will do it. I would love to do a horror film, a thriller, a tearjerker... I like diversity. I would just like to sustain my sense of humour!
The hardest lesson to learn always is to just have faith in that you will always have something to say or a story to tell. I have faith that I'll be able to continue to tell stories, write and tell stories. You just need to keep going at it.
The material I did was lasting material. A lot of people thought I wasn't doing anything, but I was in the studio. The biggest factor is the material you choose. You hunt, you cut.
Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.
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