Top 1200 Material Quotes & Sayings - Page 3

I am convinced that material things can contribute a lot to making one's life pleasant, but, basically, if you do not have very good friends and relatives who matter to you, life will be really empty and sad and material things cease to be important.

We ultimately have to find truth in the material, and I think that transfers onto the screen. Obviously there's varying degrees of it, and we don't get it right all the time [laughs], but I think when it feels grounded, it's because we recognize the truth in the material.

Not just as an actress, but on a human-being level, I've experienced frustration on many different levels. [With my] career, it would be more the frustration of not always finding challenging material or inspiring material ... [Acting is] therapeutic for me. I'm pretty accommodating.

I want to point out to adults that there is a world of good material available to you now in comic form - in this medium - and learn to give it your support because the more you support it, the better the material will be as it comes out.

That is why Christians are told not to judge. We see only the results which a man's choices make out of his raw material. But God does not judge him on the raw material at all, but on what he has done with it.

It's very eclectic, the way one chooses subjects in the movie business, especially in the commercial movie business. You need to develop material yourself or material is presented to you as an assignment to direct.

You've just gotta go in and write from the heart and write the best material that you can and put it out. If one hits, hey, great. It keeps the legacy going. But you've gotta keep doing new material. It's the future of any band.

The lonely wanderer, who watches by the seashore the waves that roll between him and his home, talks of cruel facts, material barriers that, just because they are material, and not ideal, shall be the irresistible foes of his longing heart.

I've told youngsters not to write their autobiographical novel at the age of twenty-one; to save it for the time when they're fifty-one or sixty-one. They should write other novels first, to learn their craft; they shouldn't cut their teeth on the valuable material of childhood because they'll never have better material, ever, to work with.

Fiction stymies me with its possibility. I can't see the bottom and I freeze, cling to the side, or just choke. In nonfiction, particularly that which takes personal narrative for its primary topic, I have a finite space and a finite amount of material. I can't fabricate material, I can only shape and burrow into it.

I have had to answer questions like, 'But you don't look like lead material.' Now, I still don't know what 'lead material' looks like because everyone has eyes, a nose, and a face.

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.

If you live in a material universe where acquiring things is very important to you, then family is an absolute deterrent to maintaining that sort of a world, because family involves values like affection, and sympathy, and passion, and types of pleasure that lead nowhere in a material sense.

'2001: A Space Odyssey' is a movie that really impressed me as a teenager. And also 'Blade Runner.' And 'Close Encounters of the Third Kind' is also one of my favorites. I'm always looking for sci-fi material, and it's difficult to find original and strong material that's not just about weaponry.

Throw yourself into the hurly-burly of life. It doesn't matter how many mistakes you make, what unhappiness you have to undergo. It is all your material ... Don't wait for experience to come to you; go out after experience. Experience is your material.

You cannot disconnect the form from the material - the material informs the form.

I've been essentially not only deconstructing and reconstructing the material to make it suitable for the performance, but I've gone back and found some older material that's appropriate for the show and I've re-recorded that as well in kind of a newer format. So I've been pretty much focused on my own thing.

I'm conscious of the fact that a lot of Ekoplekz material got released in quick succession. It was difficult for people to keep up. The thing is, once you hand over the material to the label you have no control over when something comes out - at one point I had whole LPs that were overlapping.

Still, we view that old material very much like we view the new material so if this gives us a chance to go out and promote it then, yes we will go out and do that.

In architecture, space was a material to be shaped, even created. For these men, the material was silence. Silence like water in which you could drown, the absence of talk as constricting as the absence of air.

I've found that using historical material and being rooted in historical material is liberating because I always think to myself, 'Well, this actually happened, and this is fantastic!' That's why I don't like fantasy, in a way. Because it's sort of in emptiness.

In the case of Alex Haley, Haley's material is located at the University of Tennessee at Knoxville, primarily. But there are a whole series of elaborate steps that one has to - has to encounter in order to even begin to do research. There's an attorney. If you want to photocopy material from that archive, you have to get permission from the attorney beforehand.

When I start, my first idea for a building is with the material. I believe architecture is about that. It's not about paper, it's not about forms. It's about space and material.

I work a little bit like a sculptor. When I start, my first idea for a building is with the material. I believe architecture is about that. It's not about paper, it's not about forms. It's about space and material.

All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light.

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.

I never want to cannibalize my act, and I'm really excited that I am going to be able to perform new material. I'm not a huge fan of repeating jokes, and I don't really do any of my old material from old stand-up acts.

Sometimes I'm inspired by the material and sometimes there's an idea that speaks to a material.

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.

And, in fact, you can find that the lack of basic resources, material resources, contributes to unhappiness, but the increase in material resources do not increase happiness.

Material objects give rise to physical happiness, while spiritual development gives rise to mental happiness. Since we experience both physical and mental happiness, we need both material and spiritual development. This is why, for our own good and that of society we need to balance material progress with inner development.

For reasons of national security and out of consideration for some people still alive I have omitted certain material. Some of this material cannot be made available for many years, perhaps for many generations.

We're pretty sure there's plenty of organic material on Pluto. The atmosphere is largely methane, and in sunlight, methane builds organic molecules. We see reddish stuff on the surface that we think is organic material.

I had to leave some traces. In the beginning, I would give complete instructions to the photographer. In the '70s, people would come to photograph your work and you would just end up with this crazy material that had nothing to do with your work; maybe I'd pick up two or three photographs that were the closest to the idea. This is why when you look at the '70s, you see much less documentation and really bad material. The material will become misleading to what the piece was.

We now expect Google, Facebook, Twitter and other companies to police the Internet for dangerous and illegal material - violent, terrorist, criminal - and some democratic governments require them to do so. But what if they did decide to repress material for political reasons? How would we know?

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 have an agent in Hollywood and he's looking for material. If I get the offer and I feel I relate to that material, I will do it. I would love to do a horror film, a thriller, a tearjerker... I like diversity. I would just like to sustain my sense of humour!

I have a great belief in spiritual force, but I think we have to realize that spiritual force alone has to have material force with it so long as we live in a material world. The two together make a strong combination.

Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.

On the one hand, I have wanted to supply documentation on myself by including material relevant to my emotions and ideas in my youth; and, on the other, not to let myself down by publishing inferior material. My poetry comes under the latter head. My only advice to the reader is to skip any verse that he sees coming.

Everyone holds his fortune in his own hands, like a sculptor the raw material he will fashion into a figure. But it's the same with that type of artistic activity as with all others: We are merely born with the capability to do it. The Skill to mold the material into what we want must be learned and attentively cultivated.

Second City Las Vegas is very different from Second City in Chicago on the main stage, where they do improv sets. That's how they kind of hone material, kind of work up to new material.

There is no such thing as material covetousness. All covetousness is spiritual. ...Any so-called material thing that you want is merely a symbol: you want it not for itself, but because it will content your spirit for the moment.

I look for material that both interest me and challenges me. If I am drawn to the material and I have to work hard at it, the characters and the plots reflect the hours and hours of research.

I never have a problem with finding material. I wait for it to turn up, and it always turns up. It’s dealing with the material I’m inundated with that poses the problem.

People who lack material wealth, who are poor, won't be very happy. They will be obsessed with meeting their bills at pay day. And people who have an abundance of material goods are often not happy.

Material comes all kinds of ways, and it's never a question of a lack of material or a lack of projects - I have tons of projects. The issue is to convince someone to give you the money. And it's a very different business than it was just 8 years ago.

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.

[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.

Something like going to get the newspaper can increase your writing efficiency by taking you away from the material. When I'm doing other things, writing stuff will be swirling around in my head, and sometimes I'll see a new way into the material.

Of course Nebraska is a storehouse of literary material. Everywhere is a storehouse of literary material. If a true artist were born in a pigpen and raised in a sty, he would still find plenty of inspiration for his work. The only need is the eye to see.

Currently under FCC policy, indecency determinations hinge on two factors. First, material must describe or depict sexual or excretory organs or activities. Second, the material must be patently offensive as measured by contemporary community standards for the broadcast medium.

I tend to feed the trolls because it gives me material for my work. I'm sometimes taken aback by the racist and antisemitic abuse I get, but most of the time I'll get angry for a second, and then remind myself, 'This is material.' The trick is not to be too reactive.

The ideas of the ruling class are in every epoch the ruling ideas, i.e. the class which is the ruling material force of society, is at the same time its ruling intellectual force. The class which has the means of material production at its disposal, has control at the same time over the means of mental production, so that thereby, generally speaking, the ideas of those who lack the means of mental production are subject to it. The ruling ideas are nothing more than the ideal expression of the dominant material relationships, the dominant material relationships grasped as ideas.

It's very hard for a studio to take a chance on a piece of original material. They used to have the fall-back of DVD sales. They had ways in which they could safely make an investment in a piece of original material, and those opportunities aren't necessarily there anymore.

We have known each other for a long time, and I've always known the real Paris. I always knew she was like wife material or serious girlfriend material.

When the material written is very good then half of your work is done by the writer itself. When there's a well-defined character written, then the attempt is to be as honest to the material as possible.

I never really have blank page syndrome. I don't get blocked. I have a plan for my novel before I start which, although incomplete, probably contains enough material for several novels by a quieter kind of writer. And I try to get my arms around that material and see where it takes me.

I spend a lot of my time just developing material; or the company does. That material can come from a book, can come from a newspaper, can come from a discussion and sometimes it can come from a script that got passed over and is floating around.

It's always this grand search in the industry to find good material. Whenever there is good material, they all jump on it, and it's like a food fight to get it made. That's why so many things take years and years to develop because it all shows up on screen.