Good material is good material.

You can't be funny if you don't have good material.

I like going after good material, well-written material.

I listen to Mark Chestnutt and think he's a great singer - and he really does good material.

If you write really good material, the rest just falls into place. There's really no trick to it.

I will work with a director who has good material because at the end of the day, that's what counts.

I think people were just starving for good material because they just weren't getting it on the radio.

I would like to work with challenging material. A challenge is good. If it's good material; it's a challenge.

I'm a storyteller, and I have really good material to work with: I've been studying magic and the occult since about 1983.

If your child really loves art, get them some good brushes. Get good material and make them feel that what they do is important.

Defeat furnishes good material to the poets and the artists, but none of us care to have the glory of the conquered apply to us.

I'm just attracted to good material and great characters and that can come in any form, whether it's television or film or a theatre piece.

If you want to do good material and you're lucky enough to get a chance to do it, then chances are probably somebody pretty nifty will have been there before you.

I just like doing things with people that I love and care about and trust to work with, and I care about good material and good content - as long as I'm doing that, I'm happy.

When I joined the ANC, I never thought I would be anything. In no way, did I say, 'One day I could be the president. I think I am good material for the presidency.' Not at all.

I'd rather get a good clean laugh with good material, than an easy laugh by swearing or shocking. That's not clever or comedic, anybody can get a laugh that way, it's too easy.

Coming out of school, sometimes people can be theater snobs. I only wanted to do theater, highbrow stuff. But what I learned very quickly is there can be good material in every genre.

I never regret things. It's a really dangerous thing to say, but for anyone involved in the arts, the bad things that happen make for good material. It's not a comfortable truth, but it is true.

First of all, Craig Lucas' work, any of it, for any actor, is such good material. It's so alive in such a poetic, yet human way. It's theatrical, but it lets you emotionally connect with the characters.

People ask me how I sang the role of the 'Phantom' 1,700 times. And I say that it's down to good material. If it did not have good material, I would have had a major problem doing it for that length of time.

I worked at comedy clubs - if I can use the term 'work' - for several years. I middled at one point. I never made it; I was never a headliner. I never made enough time to write enough good material, in my opinion.

I just want to do good material. If I'm right for it, and it connects with me, and the material is good, I'm not going to say 'I'm just going to do this' or 'I have to do one of everything.' I'm not thinking like that.

I really love 'Cold Song.' If anyone really listens to that song and thinks about their life, there's a lot of good material deep down in there. I think if you listen to the lyrics, it may take you on some sort of a journey.

I think the future belongs to the comedic polymath. It belongs to the person who can generate the most good material in the biggest variety of ways, whether it's sketches or stand-up or songs or tweets or television or films.

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.

The hardest thing to write was explaining what anxiety feels like. Every time I'd try to really write about what it feels like to have an anxiety attack, I would actually have an anxiety attack. It was good material but so incredibly uncomfortable.

It's also a question of finding good material and interesting roles. I'm not the only actress out there, and good parts just don't fall into your lap that easily. But I like most of the films I've made recently and so I'm pretty positive about the future.

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.

I get very picky. There's sort of a line you have to walk between working and doing something you actually want to be a part of, as opposed to just working for the work. That often puts you in a place where you have to choose whether or not you want to wait for good material to come along.

I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.

I have plenty of dream roles because there is so much I want to do, but my dream year would be to be in a single-camera comedy and then, on my hiatus, film a little low-budget indie drama. That would be a dream 12-month period. A dream role depends on having good material and working with people that I can learn from.

I'm just trying to touch the world and touch the people and just get good material. And show them that we can get it done. Just because you're African American, you still can touch the masses. And that's my goal. I won't stop until that goal is continued to push it hard to the world that we are the universal person as well.

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.

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