A Quote by Ludwig Mies van der Rohe
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.
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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.
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.
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.
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 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.
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.
A lot of modern film scoring is about a lack of themes, so I try to find ways of using music that doesn't necessarily have thematic material in it to make the points when there is thematic material even stronger. It's cool to be able to combine old and new.
The main issue was deciding what to play: Should it be old Ramones material or new material? I had about three albums worth of new material, but I knew that people would rather hear the Ramones songs.
Natural selection based on the differential multiplication of variant types cannot exist before there is material capable of replicating itself and its own variations, that is, before the origination of specifically genetic material or gene-material.
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.
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.
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.
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 don't belong here, but in the spiritual sky: As l'm fated for the material world, Get frustrated in the material world, Senses never gratified, Only swelling like a tide, That could drown me in the material world.
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.
Human material seems to have one major defect: it does not like to be considered merely as human material. It finds it hard to endure the feeling that it must resign itself to passive acceptance of changes introduced from above.
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