A Quote by Larry Wilmore
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?
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I think sometimes a part requires more than one approach or thought.
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).
In my experience sometimes the darker the material that you're doing, the more necessary it is to have some sort of levity around. I've worked on more lighthearted pieces that have been more brutal and tougher to make.
[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 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.
Some of my music requires an obsessive-compulsive approach and a real embodiment of excessiveness. So I really have to live in that world of overstimulation. Sometimes I think it's like a drug; more is more, and you can never get enough. The older I get, the more I crave that excessive aesthetic. It's never going to satisfy me.
You have to have wonderful actors for material, particularly difficult material that requires complicated performances.
Sometimes you make a connection with a writer or a piece of material, and there's not much to ask.
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.
For me, the whole idea of the radically new is tied to a close reconsideration of older sources. I like to give myself over to those sources, as points of origin, in order to bring things forward. My approach requires me to internalize my sources as much as possible in the hope that new themes might emerge. The material has to be internalized in order for it to live again. Ultimately, paintings reveal themselves on the basis of what they are. They are inseparable from the physical process that goes into their making.
Define self-awareness and tell me what it is about it that requires something more than a material explanation. I do not accept the burden of explaining all phenomena, real or imagined. If you think more than matter is required for this thing you call self-awareness, which you have not defined, then you have the burden of showing why.
I sometimes think the theatre is more demanding because it requires things you don't have in films, like it requires you to make the people in the front row believe you and not look an idiot to them while the people right at the back can hear you.
For a sculptor, a painter, a weaver, a potter, the dialogue between one's materials and what one makes from them is easy to see: discover a new material or a new way to use a familiar one, and new things can be made, sometimes leading to the discovery of more new material, leading to more creation.
Sometimes I'm inspired by the material and sometimes there's an idea that speaks to a material.
The principal problem is that textual data and material remains are often incomplete and sometimes lack adequate context, in order to know precisely how they correlate. Sometimes all we can say is that the textual data and the material remains are probably related but how exactly can't be said until additional discoveries are made.
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.
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