A Quote by John Wells
You have to have wonderful actors for material, particularly difficult material that requires complicated performances.
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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.
The edifice of science not only requires material, but also a plan. Without the material, the plan alone is but a castle in the air-a mere possibility; whilst the material without a plan is but useless matter.
The thing that's worked for me is having as much of a connection to the material as possible. And sometimes the material requires a more straightforward approach, and sometimes it requires a little more silliness, you know?
I used to be very controlling with visuals and editing, and I would pretty much craft the performances; now I have learned to trust the material and the actors.
We are material creatures who spend much of our lives on material pursuits (even building a cathedral or writing a novel requires stone and mortar or paper and ink).
The one immutable reality of film is, no matter how wonderful the actors and the performances are, every year the actors age and grow older - Sophie Turner's Jean Grey was wonderful!
The older you get and the wealthier you get, the more complicated life becomes. That's why I have as few material assets as possible. Every material thing you have is more hassle.
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.
You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are all aspects of choice.
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.
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 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.
Material goods consist of useful material things, and of all rights to hold, or use, or derive benefits from material things, or to receive them at a future time.
[Television viewing] is a one-way transaction that requires the taking in of particular sensory material in a particular way, no matter what the material might be. There is, indeed, no other experience in a child's life that permits quite so much intake while demanding so little outflow.
The sad truth for American actors is that they really have no control whatsoever over the material that they get, or can do, particularly actresses. And if you're over 40 and you're an actress, forget it.
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.
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