If you get a song right for its usage at the time, it can be useful to others. ...Those songs are more friendly to other artists looking for material.
How to avoid cliche at the root of conception? Practice sincerity. If we've come by ... material honestly, through our own personal experience or imagination, we may rightly claim it as our own. ... The way to make material your own is to look for it in yourself. ... It should be a story that only you can tell, as only you can tell it.
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.
Enthusiasm is big. When I write a book, it's a three-year commitment. Toward the end, I'm writing seven days a week, and it's exhausting but thrilling. The only hope is to have some real enthusiasm for the book. ... Above all, you need some strong emotional or personal connection to your material.
I typically will work on a lyric in a three-ring binder. On the right side, I'll write the lyric, and on the left side, I put in alternate things...and things that might be alternates or improvements. I'll turn the page and do it again. I'll turn the page and do it again, or incorporate the improvements. Eventually, I end up with some material, and often it needs to be ordered.
People think once you get famous and rich you move out of the public sphere and you have nothing left to write about. I've heard that - Bruce Springsteen was this real street boy, now he's got this big house. How does that compute? If you don't look at the material side of someone's life, if you look at more the emotional side, there's always a wealth of stuff to write about.
I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King I wrote over four hours worth of tunes, and they were really pretty -but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three-and-a-half weeks properly. On Crimson Tide, on the other hand, I just went in and within seconds I knew what I wanted.
Infinite perfection is in every man, though unmanifested. Every man has in him the potentiality of attaining to perfect saintliness, Rishihood, or to the most exalted position of an Avatâra, or to the greatness of a hero in material discoveries.
So that's why one of my rules of parody writing is that it's gotta be funny regardless of whether you know the source material. It has to work on its own merit.
Congressional investigations...are still being held on the problem of unidentified flying objects and the problem is one in which there is quite a bit of interest... Since most of the material presented to the committee is classified, the hearings are never printed.
What persuades men and women to mistake each other from time to time for gods or vermin is ideology. One can understand well enough how human beings may struggle and murder for good material reasons - reasons connected, for instance, with their physical survival. It is much harder to grasp how they may come to do so in the name of something as apparently abstract as ideas. Yet ideas are what men and women live by, and will occasionally die for.
I've talked with people of stature-of military and government credentials and position-and heard their stories, and their desire to tell their stories openly to the public. And that got my attention very, very rapidly.... The first hand experiences of these credible witnesses that, now in advanced years are anxious to tell their story, we can't deny that, and the evidence points to the fact that Roswell was a real incident, and that indeed an alien craft did crash, and that material was recovered from that crash site.
When you record for a label, they own that material in perpetuity, meaning that they can release, chose not to release , or repackage it any way they so choose... with or without the permission of the artist.
For me it came from the material. It was so well written and brought the opportunity to work with great actors. And of course the opportunity to mince about was an added element that I wanted to take advantage of!
In this world we are in precarious position, balanced midway between material and spiritual hungers. We find heaven to be a delicate state of consciousness that can be lost in a single moment of forgetfulness.
The way it is now, the asylums can hold the sane people, but if we tried to shut up the insane we should run out of building materials.
We believe our suppliers of materials have not been impacted. At this point, our customers have not asked us to do anything differently as a result of the earthquake.
Why should we feel sad when the Hindu brothers choose to leave our country? Do we mourn when we have indigestion and materials leave our bodies?
When you read Marx (or Jesus) this way, you come to see that real wealth is not material wealth and real poverty is not just the lack of food, shelter, and clothing. Real poverty is the belief that the purpose of life is acquiring wealth and owning things. Real wealth is not the possession of property but the recognition that our deepest need, as human beings, is to keep developing our natural and acquired powers to relate to other human beings.
When listening to the sound material, we metamorphose the inside into an outside. This notion of metamorphosis is one of the principles that leads the course of the musical suite, reflecting changes (fluidsolid passages: water/ice/fire) or movements (ebb/flow/wave, inspiration/expiration) or inside-outside passages (door/individual/crowd). Thus, the perceived object is not entirely what we would have liked it to be. Our music brings us closer to some while it takes us away from others: each with their own inside.
If we cannot make a profit, that means we are committing a sort of crime against society. We take society's capital, we take their people, we take their materials, yet without a good profit, we are using precious resources that could be better used elsewhere.
I want to work with great directors. I want to work on good material with good actors. I've probably done 20 movies at this point and a lot of independents. It's been an incredible ride and I love it and I'm just going to keep going and doing what I'm doing.
Also everyone's hearts are in the right place when you do a small movie. You're not doing it for the money; you're not doing it for the possibility of an Oscar nomination. You are doing it because you love the material.
I've been lucky to be able to work with great people and on interesting material.
The worst thing that an actor can do is go into any project with a lack of respect for the material. You can have an opinion about it, but you have to respect yourself in doing it.
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