There are bombshells that happen in court. Especially when the defense doesn't share discovery of material the way the prosecution does, and so surprises always happen. Things pop out without warning.
When you're 19 and writing plays, you think every actor is full of it. They just can't handle your brilliant material.
I'm at my best when I'm being genuine and sincere, and reading my material straight up to an audience that wants to listen.
My mom was like, 'Get your law degree first, become a lawyer, and then you can tell jokes on the weekends. You can be a lawyer and just throw jokes into your presentations.' Now she's like, 'Listen, you need to come up with new material.' All of a sudden, my mom's a critic.
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.
If a scientist is reading a paper online and clicks through to purchase material, there's value there. It might be a business model; it might be enough to defray the cost of open access. I just want to create the infrastructure that makes movement and sharing easier.
Just this week, my husband proposed a plan for schools and libraries to develop their own plans to keep children from finding indecent material on the Internet as an alternative to a Congressional proposal that would require a federally mandated solution.
I think some people wished I'd kept myself out of the book. But I kind of insist on it because I want the reader to share my engagement with the material, if you like, not pretend that I'm doing it completely intellectually.
I wasn't the prettiest girl in class. No breasts, short legs, gangly teeth. I didn't think I was model material, that's for sure.
I once had a long relationship with a lady, and wherever I went in the world, if I saw something she would look great in, a gown or gloves or a ring, I always knew what color she liked most. I knew her size, what material she appreciated most, and I spent the whole time buying gifts for her. And I loved her very much.
I have always believed that the material world is governed by nonmaterial sources, so that in that sense 'English Music' is an exercise in the spiritual as well as the material. I have always been attracted to the Gothic and spiritual imagination, and I've always been interested in visionaries.
I take some pains to learn the material beforehand. I have a bunch of tricks I use to try and hit the ground running. I write everything out. I take the text and I very methodically go through, and that tends to put it into my head a little bit more solidly than if I just glanced at it and hoped for the best.
We are material beings for but a moment in time, but we are spiritual beings forever.
The biggest lesson from Africa was that life's joys come mostly from relationships and friendships, not from material things. I saw time and again how much fun Africans had with their families and friends and on the sports fields; they laughed all the time.
My agent says that I'm a 'repeat business guy.' If you hire me to come do a movie, I'll be on time, know all my material, be ready to go, have a good attitude. I'm here to work, so I get hired over and over again by the same producers. If you just be a team player on set you can work so much more often.
A lady emailed me that her child had been diagnosed with autism and that hearing my material on the subject had helped her. To me, it just means that I'm making the right decision in talking about this.
I've done some TV and I've done a lot of theater, obviously, and the last character I played on Broadway was a very fast-talking broad. I'm used to learning material and words.
It's true and it's easily said that language is material, and something does materialise as one writes.
Simply, if you're working with good material, then it's right there, and you don't have to try so hard as an actor; you don't have to do so much. Just let the material sit inside you and let it come out. Just say the words. That was the main thing that I learned from doing Aaron Sorkin's work - say the words, and everything else will happen.
I want to bring back the human encounter into places where material things have a prime status. In a museum, you're supposed to look at things and not talk to other people.
The 'New Testament', now, I quite liked. Jesus had a lot of good things to say, and as for his father, he must have been highly thought of by the community to work with wood - a material that couldn't have been widely available in Palestine.
In 1974/75, I spent a sabbatical year with Professor Vince Jaccarino and Dr. Alan King at the University of California in Santa Barbara to get a taste of nuclear magnetic resonance. We solved a specific problem on the bicritical point of MnF2, their home-base material. We traded experience, NMR, and critical phenomena.
I think Frank Ocean is a talented artist; I think he's created material that made me know his name, that impressed me, with things he said on a song like 'Novacane.'
When I work, obviously the material is the first and most important thing. Then the director and who I'll be working with. And then the location comes into it. Where is it shooting? Because I have a family that has to uproot to do that with me.
There is plenty of building material and more than enough manpower to make a decent home for every Cuban. But if we continue to wait for the golden calf, a thousand years will have gone by, and the problem will remain the same.
I just try to do as good job with the material as I can and play some jazz as well, some improvised music, and do that every night. Just see where it goes.
I wouldn't say I'm personally trying to transition from comedy into drama. I don't look at things like, 'Oh, I need to do a drama now.' I get a lot of material sent to me, and if I feel like something has the creative integrity and the right director and the right whoever involved, the right actors and is a great story, then I do it.
When I was very young, I didn't really write my own material. I just memorized other peoples' jokes. Established comics, like Stanley Myron Handelman and people like that. And then, for every comic, you develop your own style after a while.
Even with college, the reason I wanted to go so badly is because I wanted to major in film. I want to take screenwriting classes and learn more about behind the scenes stuff, because I love people like Steve Carell and Kristen Wiig who are able to write a lot of their own material and be so involved in everything they do.
The international community must do a better job of controlling the risks of nuclear proliferation. Sensitive parts of the nuclear fuel cycle - the production of new fuel, the processing of weapon-usable material, the disposal of spent fuel and radioactive waste - would be less vulnerable to proliferation if brought under multinational control.
The three-pound organ in your skull - with its pink consistency of Jell-o - is an alien kind of computational material. It is composed of miniaturized, self-configuring parts, and it vastly outstrips anything we've dreamt of building.
When I do an hour-and-a-half show, if I don't improvise 20 minutes worth of new material each night, I feel I've let myself down.
It is essential for genetic material to be able to make exact copies of itself; otherwise growth would produce disorder, life could not originate, and favourable forms would not be perpetuated by natural selection.
Doing this for so long, I realize that the media - you have a boss. And your boss wants you to provide the best material that you can. And he might put pressure on you to do it a way that you feel is unconstitutional. You might not like it. But you still gotta feed your family.
For me, the source material can come from anywhere. It can be a poem, it can be a dream, it can be a movie, as long as the end part of it is interesting - that's what it's about for me.
I often find in doing tragedy, or doing very serious material, that there's a level of anxiety that builds that often leads to laughter in some cases. In between takes, there can often be a lightness.
