A Quote by Andre Braugher
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.
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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.
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 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 want to make sure that people with talents, who want to perform or to develop their act, know that the Peacock Theater exists and to reach out to us and know that there's a safe and fun place for them to develop their material.
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 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.
I believe that we can accomplish any object that we make up our minds to, and no boy or girl ought to sit down and say, because they cannot do as well as somebody else, that they will not do anything. God has given to some people ten talents; to others, he has given one; but they who improve the one talent will live to see the day when they will far outshine those who have ten talents but fail to improve them.
Most beginners who have learned the point system will only consider a sacrifice if it leads directly to checkmate or if the material can be won back by force. A Grandmaster, though, will frequently sacrifice for less tangible compensation, such as a lead in development or a superior pawn structure.
Directing is so dope to me, man, 'cause it doesn't necessarily have to be your material. You're making someone else's material come to life. There's something amazing about that.
I make sure the best of what I do each year is the only material that gets on my albums; I don't want people to think I put out junk.
I really don't want to go to work every day convincing myself of what I'm saying. I want the material to make me a better actor; then I try to return the favor to the material.
Greed can be very dangerous because you sacrifice your soul for the sake of something material, and then you start sacrificing people in order to keep that which is material.
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.
That is the trouble with many inventors; they lack patience. They lack the willingness to work a thing out slowly and clearly and sharply in their mind, so that they can actually "feel it work." They want to try their first idea right off; and the result is they use up lots of money and lots of good material, only to find eventually that they are working in the wrong direction. We all make mistakes, and it is better to make them before we begin.
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.
In order to cooperate in the material worlds as agents of a divine power, the spirits temporarily have a material body. By the work required in their corporeal lives, the spirits improve their intelligence and, by observing God's law, they acquire the merits which will lead them to eternal happiness.
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