A Quote by Eric Bogosian
It's a mental fake-out to myself. I make believe I'm making a new show so I forget the material I was working on and make up some fresh material.
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For me the journey of making a film is a journey of discovery as to what that film is. I mean what I do is what other artists do, painters, novelists, people that make music, poets, sculptors, you name it. It's about starting out and working with the material and discovering through making, working with the material the artifact.
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.
We must remember that everything depends on how we use a material, not on the material itself... New materials are not necessarily superior. Each material is only what we make it.
The skill of a good actor is to make it always seem like you're in that fantastically spontaneous moment. Very often, a stand-up comedian has a different instinct, which is to reinvent. Once you've laid down some material, and made them laugh, you move on and find some new material.
Making clothing is not just about the application of style and technique. At some stage, you want to experiment with new materials, or experiment in making materials. When you have a material to yourself, you get to make something totally new based on how that material acts. The access afforded by this tannery pushes you beyond your comfort or knowledge zone of hue and texture, forcing you - the designer - to think about how that flat plane will act when it enters the third dimension.
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.
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.
I'm planning a different show, though for obvious reasons some of the material will be the same, and of course I will perform material from the new CD.
I've been essentially not only deconstructing and reconstructing the material to make it suitable for the performance, but I've gone back and found some older material that's appropriate for the show and I've re-recorded that as well in kind of a newer format. So I've been pretty much focused on my own thing.
In our quest to quickly make three-dimensional objects, we can miss out on the experience of making something that helps give us our first understandings of form and material, of the way a material behaves--'I press too hard here, and it breaks here' and so on. Some of the digital rendering tools are impressive, but it's important that people still really try and figure out a way of gaining direct experience with the materials.
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.
I am notoriously hard on myself in terms of working on new material and while I am critical of my performance on the Led Zeppelin material, I am way more critical of my own stuff. I'm pretty hard on myself.
People have had to make up for their spiritual impoverishment by accumulating material things. When spiritual blessings come, material blessings seem unimportant. As long as we desire material things this is all we receive, and we remain spiritually impoverished.
But television, when I was doing it, was all about scoring. You had to make these jokes bang, do whatever you could to make the material really pop. And if it didn't, there was something wrong with the material, or with you.
I alter some things, eliminate and try again until I am satisfied. Then begins the mental working out of this material in its breadth, its narrowness, its height and depth.
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.
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