A Quote by Eartha Kitt
Greed can be very dangerous because you sacrifice your soul for the sake of something material, and then you start sacrificing people in order to keep that which is material.
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The soul is the form of the body, but not as the shape of a statue is formatio et terminatio materiae, for form does not exist apart from material. There is no whiteness without a white object. But the soul is not a form in this simple sense, and in particular, is not the shape of the material it informs. Therefore, the shape of a being does not affect the being's soul, for then something lower would inform something higher, which is impossible.
There's something grueling but very appealing about rough, to-the-bone material in a low budget context. There's less between you and the material. There are less people. There is less time. There's often less technology. You have to concentrate very intensely, and you jump in a little deeper because there's nothing in your way... but there are challenges.
Before I started working on a computer, writing a piece would be like making something up every day, taking the material and never quite knowing where you were going to go next with the material. With a computer it was less like painting and more like sculpture, where you start with a block of something and then start shaping it.
If you write your own material and perform your own material, then nobody can really expose it because if you keep your secrets close to yourself, then nobody can really expose you.
But those dealing in the actual manufacture of mind are dealing in a very explosive material. The material is not merely the clay of which man is master, but the truths or semblances of truth which have a certain mastery over man. The material is explosive because it must be taken seriously. The men writing books really are throwing bombs.
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.
When the material written is very good then half of your work is done by the writer itself. When there's a well-defined character written, then the attempt is to be as honest to the material as possible.
I like Las Vegas because it kind of gives me a chance to gauge my material in front of a very diverse group of people. There are a lot of different people in the audience, and you can kind of get a barometer for how your material plays throughout the country.
Being an entrepreneur and starting new companies require a lot of sacrifice. Sacrifice that you have to make. Because in order to be really successful, your company becomes your life. And then you have to really dedicate your time and energy fully to this endeavor that you start.
What does "living your best life" mean to you? Does it mean accumulating wealth and fulfilling all your material wants? Or, does it mean turning away from the material world in order to fully realize the gift of spirit? We often tend to think of these objectives as being mutually exclusive: material fulfillment or spiritual fulfillment, not both together.
But only if I believe that my directing talents will improve the material I'd be working on. I want to make sure I don't sacrifice beautiful material on the altar of my direction.
Some people have a very strange idea that material success does not coincide harmoniously with self-realization, which is absurd. The aversion to material success, or the clinging to it, is an attachment.
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.
I'm conscious of the fact that a lot of Ekoplekz material got released in quick succession. It was difficult for people to keep up. The thing is, once you hand over the material to the label you have no control over when something comes out - at one point I had whole LPs that were overlapping.
Whether it's your own material or somebody else's material, it's essential that you identify with it thoroughly. It's like you want to archive it; you want to freeze it in time in terms of your perspective on it, then move on, because folk music is that volatile and comments not only on overall human concerns but also on the specifics.
I extract what I consider the best material from different sources. But often the material I perform comes from a very strange location in history, which are minstrel shows.
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