A Quote by Aisling Bea
Everyone has material about cats, and everyone has material about family and what they think about their government or childhood.
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My father's book is about is about a number of things, but about Houdini's rage to not be a failure like his father, and it's also about converting X-rated material, namely bondage, into family friendly safe fare, which is what he did. It's also about death and resurrection, and rising to live again another day when everyone thinks you're dead.
I work a little bit like a sculptor. When I start, my first idea for a building is with the material. I believe architecture is about that. It's not about paper, it's not about forms. It's about space and material.
When I start, my first idea for a building is with the material. I believe architecture is about that. It's not about paper, it's not about forms. It's about space and material.
I don't have to change anything. I think that's the secret to comedy. You want to be universal and appeal to everyone. You want to put yourself in a position that no matter what you're talking about, everyone can relate to it and understand it, because it's an experience that everyone can go through. That's what I pattern my writing material and jokes after. I'm trying to maintain a level of realness that my fans can appreciate.
Your basic person wants to talk about material culture, internet culture. I think about God, cats, nature.
Our culture is hung up on and overemphasises what can be derived from material objects. I think this is something quite new, over the past 200 or 300 years - that life has become about accumulating material wealth. The 21st century is not about accumulating material wealth like the 20th century. It's already eroding.
I talk about everything - politics, the economy; the news will give you more material than you can ever use. But relationships? That's the ongoing battle. You talk about men and women, and across-the-board everyone can relate to that.
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.
I think it's sinful to give the audience material it knows already, whether the material is about race relations or the car culture or the depiction and placement of a candy bar.
My sister's a musician. Everyone else in our family, it's either academics or artists of one kind or another. And those are the people that I think I like to hang out with, too. I think, you know, they're always interesting; they lead interesting lives, and I think they're important for everyone to read about because everyone is an artist in a way.
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.
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.
The main issue was deciding what to play: Should it be old Ramones material or new material? I had about three albums worth of new material, but I knew that people would rather hear the Ramones songs.
People say to me 'you're successful, what are you crying about?'. I'm crying about the people. I'm crying about their daughters. Our daughters, as one family. What good is it. What good is anything that everyone can't have. Every ism. They think we're done with racism. What about elitism, what about separatism, what about classism? That's all.
What I always think about when I think about 'Girls' is Lena being in a scene where she's very vulnerable, possibly directing, acting, and she's probably written the dialogue. It's 2 in the morning. Everyone's tired. Everyone's grumpy. And she has a smile on her face and kindness for everyone who interacts with her.
The thing about working at Pixar is that everyone around you is smarter and funnier and cleverer than you and they all think the same about everyone else. It's a nice problem to have.
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