A Quote by Drew Endy

The scope of material I can work with is not limited to the set of things that we inherit from nature. — © Drew Endy
The scope of material I can work with is not limited to the set of things that we inherit from nature.
Whatever good there is in the world I inherit from the courage and work of those who went before me. I, in turn, have a responsibility to make things better for those who will inherit the earth from me.
I think an editing style is something that is ascribed to the work after-the-fact. I don't think you go in with a particular intention, but I think if there is an integrity to the work and the material you are working with, the work comes from the nature of that material.
I've consciously taken on material that's a bit too much for me but not an overreach. The first movie, just about performances. 'The Town,' I learned how to work broader material, develop tension, direct bigger scenes, action sequences. 'Argo,' I experimented with film stock, widened the scope of my geography.
I love a lot of American writers, but I think that for the most part the scope of what's accepted as great American writing is very limited. What we have is good, but it's limited. There's not enough engagement with the world. Our literature's not adventurous enough. The influence of MFA writing tends to make things repetitive. The idea that writing can be taught has changed the whole conversation in the U.S.
To live in the Great Way is neither easy nor difficult, but those with limited views are fearful and irresolute: the faster they hurry, the slower they go, and clinging cannot be limited: even to be attached to the idea of enlightenment is to go astray. Just let things be in their own way and there will be neither coming nor going. Obey the nature of things (your own nature), and you will walk freely and undisturbed.
If the consequences are the same it is always better to assume the more limited antecedent, since in things of nature the limited, as being better, is sure to be found, wherever possible, rather than the unlimited.
The message is not so much that the worms will inherit the Earth, but that all things play a role in nature, even the lowly worm.
If you feel weak, limited, ordinary, you are the best material through which God can work.
I feel I should defer to the writers and the directors because they're the ones who have the complete vision. They see things through from the beginning to the end. I'm responsible for one small part, so my scope is much more limited than theirs.
The end of nature sours all my material pleasures. The prospect of living in a genetically engineered world sickens me. And yet it is toward such a world that our belief in endless material advancement hurries us. As long as that desire drives us, here is no way to set limits.
I know we've had AI films, but they've been quite specific in their scope. The scope of 'Humans' is a world set up where this technology is universally accepted. I haven't seen anything that's dealt with it in that multi-layered, every-layer-of-society way.
After things started to happen here, my choice of material was extremely limited. It was a weird situation.
I feel I should defer to the writers and the directors because theyre the ones who have the complete vision. They see things through from the beginning to the end. Im responsible for one small part, so my scope is much more limited than theirs.
Here in Bengal the production has to work under more pressing schedules partly caused by monetary reasons as the shooting has to be wrapped up within a limited number of days to prevent cost overrun and hence there is not much scope to rethink and alter.
There's a lot of psychological material that you inherit from your family.
Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.
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