A Quote by Kelli O'Hara
When doing a revival, you have a lot of people asking you questions about someone who played it before, and to me that's neither here nor there - it has no bearing on the material that I have to use. The material that is written down in a score and script that the writers originally used is what I use.
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I don't think it's unfair to have writers. I think if you're going to do a roast on television, as if you were doing a play or you were reading a script of a movie, you would have the best possible material. And those are the people who score, the people who are willing to listen to the roasting experts and then come out there and own that material.
When I do a novel, I don't really use the script, I use the book; when I did Apocalypse Now, I used Heart of Darkness. Novels usually have so much rich material.
It's usually very, very hard for me to pick up a script that was written and try and see myself as a part of that, especially when you're used to performing all your own material. It's OK with drama, I like being handed great material but I think with comedy it's far more personal and probably a lot harder for me to find a fit.
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 use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.
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.
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.
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.
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.
For me, in general, it's always about the material. Obviously, it's about the material and hoping that someone wants to hire me for a job, too, but I've certainly seen films like 'Orphan' and movies like that where I know that if I had had the opportunity to read that script or had an opportunity to do it, I would have wanted to do it.
There have been many authorities who have asserted that the basis of science lies in counting or measuring, i.e. in the use of mathematics. Neither counting nor measuring can however be the most fundamental processes in our study of the material universe-before you can do either to any purpose you must first select what you propose to count or measure, which presupposes a classification.
We are used to female writers who use their private lives as unmitigated material being somewhat hormonal; this somehow 'excuses' what might be seen as a highly unfeminine ability to turn their personal upsets into money.
The man of wisdom is devoid of ego even though he may appear to use it. His vacant or fasting mind is neither doing anything nor not doing anything. He is outside of volition, neither this nor that. He is everything and nothing.
Be careful of someone who starts asking a lot of questions about you. Start asking a lot of questions about them. Turn it around.
People ask me how I sang the role of the 'Phantom' 1,700 times. And I say that it's down to good material. If it did not have good material, I would have had a major problem doing it for that length of time.
I think most serious writers, certainly in the modern period, use their own lives or the lives of people close to them or lives they have heard about as the raw material for their creativity.
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