A Quote by Chris Colfer

I'm really not good blackmail material. — © Chris Colfer
I'm really not good blackmail material.
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 know quickly whether a guy is boyfriend material. If I can have a good time doing absolutely nothing with him, then that's boyfriend material for me. Like if we're able to have fun at a gas station. I've had some really good times at gas stations.
I found that the quality of TV material that came to me was so great and was just often better than the film material I got. And when I find a good movie that I really like, I jump on it because it's exciting to do.
Where blackmail is involved, telling the police is always a good option.
The writing is always the easy part, provided I can get the good material. It's the getting of the good material that's a challenge.
I'm not fixed in any genre. I love all kinds of films. The essential thing is; you have to have good material. If you have the filmmaker, and the material, and the script is good, you can start from there.
I just continue to look for different material, great material, as good as I can find, and try to go in there and do as good a job as I can do in making it a record. That's all you can expect. That's all that you can do.
Analyze This is a good movie because Robert De Niro and Billy Crystal are really good. But without the material to put on the play, of course, they couldn't be good. For me, it starts with the writing.
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.
It's emotional blackmail to say if you're a good businesswoman and a musician, you're betraying your music.
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.
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.
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.
I came to the conclusion is that we have a very shallow view of human nature in the policy world. We're really good at talking about material things, really bad at talking about emotions, really good at stuff we can count, really bad at the deeper stuff that actually drives behavior.
If you write really good material, the rest just falls into place. There's really no trick to it.
I think in the 'Deadpool' franchise, the writers are really good at distilling the good stuff and applying that to the material in this universe.
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