Quotes of All Topics . Occasions . Authors
I never have a thematic intention at the outset.
I've always been very thematic with my work, very conceptual.
It might be thematic work. It might be theatrical. I enjoy that kind of work.
One of our great thematic traditions in Bad Religion has been to question human nature.
The average action game doesn't much traffic in thematic grandiosity, but the BioShock games are different.
I'm a craftsman type of teacher. I don't like the thematic type of teaching that takes place in a lot of colleges.
There is definitely a thematic lineage between 'Descender' and my previous work, like 'Sweet Tooth' and 'Trillium.'
Writers find common ground not through the homelands they once inhabited but the thematic questions with which they grapple.
I really respect people who, while they only do films, they have a wide repertoire and a wide thematic array of films they do.
But you know, I really like to present the songs on an album as a story, as something thematic, rather than something you'd put on a random shuffle.
The thematic, psychological, and cultural concerns of a writer are more relevant than whatever literary mode he or she chooses to deal with in any given novel.
The content and thematic materials of dance is, of itself, like boxing. You play tennis and baseball. But boxing is not a sport you play: you stand up and do it.
A big part of the Alice Cooper sound is the big classic rock licks, the big, classic thematic kind of... It's not about going crazy, it's not about playing super fast.
Ambiguity is necessary in some of my stories, not in all. In those, it certainly contributes to the richness of the story. I doubt that thematic closure is never attainable.
I was vested emotionally in 'Battlestar.' I really loved the thematic things. I don't feel it really got its shot, and I can't blame anyone else; I was at the center of that.
'Interstellar' is a thematic sequel to Christopher Nolan's last original film, 'Inception'. It drops us into a dark future full of otherworldly landscapes and time distortions.
In writing, I want to be remembered for telling good stories in beautiful and powerful language, using the poetry of words to reflect the thematic concerns of compelling stories.
Having a very serious thematic element in the lyrics and then juxtaposing with something really triumphant and just a big beat to dance to is a nice contrast to having a dark message.
You're able to do things in novels: introduce subplots, other characters, thematic layers and so on, in a way that you simply can't in a movie. A movie really has to choose its battles.
However, there's no theme or concept behind Heathen, just a number of songs but somehow there is a thread that runs through it that is quite as strong as any of my thematic type albums.
There is a thematic continuity here within Bigelow's work: 'The Hurt Locker' serves up a military equivalent of the thrill-trips that Lenny Nero was hustling in her earlier 'Strange Days.'
Is it good, bad, or neutral to recognize thematic patterns in your own work? When it comes to recurring themes, I'm of the mind that knowledge is probably not power, at least in terms of the work.
My memory of those places is better than my pictures. That's why I get much more satisfaction out of shooting thematic work that has to do with an idea that I'm searching for, or searching to express.
'Endgame' resists narrative and even thematic explanation. How you play it has to reflect this. If you decide something too much in advance, you forget the element that gives the play life - the audience.
The thematic bucket of vomit that I've been chained to since I was about 9 is the moral complexity of anti-heroism. I have always been interested in good people who do bad things for understandable reasons.
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.
Our intention and aspiration is to continue building out thematic information about every subject - basemaps, imagery, demographics, landscape data, etc. - so anyone can use it to access thousands of authoritative maps.
I tend not to dwell on the parallels between chess and business, chess and the martial arts, or any two things for that matter, because the truth is that all pursuits are connected if we gain an eye for the thematic links.
Sure, there are moments that you can escape, and you can sit back and just enjoy it, but one of the most fun things about 'The Witcher' is that it reflects on our real world, in big thematic ways, in political ways, and in cultural ways.
'Lost' is such a thematic show that I'm always afraid that if I know something's going to happen at the end, I'll subconsciously write something in where someone who's astute will go, 'Oh, he used so-and-so's theme: that must mean so-and-so is coming back!'
I've been very fortunate with my three spec scripts - which is sort of my thematic trilogy of the American Frontier. With 'Sicario', 'Hell or High Water' and then 'Wind River' - which is the third - there were no rewrites. It was the first draft for all three.
I usually start from the most general to the more specific. I'll get an emotional overview for the film as a whole, trying to pinpoint what the musical identity is and come up with thematic ideas - any ideas that identify as succinctly as possible what the film is.
My solo playing utilizes the deployment of suggestive psychic rhythms. I'll state these throughout a given piece and play thematic improvisations on top of that. I like to suggest that rhythmic movement without always playing it. I like to create openings that I can step into.
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 have traveled down this path before - 'List of Seven' and 'Twin Peaks' both have thematic similarities - but 'Paladin' took me much deeper into the intuitive underground. Always bearing in mind Joseph Campbell's Rule No. 1: When entering a labyrinth, don't forget your ball of twine.
The way you challenge Superman is by having things happen very, very quickly in different places and then asking, 'Who does he save first? What powers must he use to save each person or stop each disaster?' That's one of the ways you make him interesting beyond the thematic and moral issues that make Superman.
I don't choose something unless I think I have a personal understanding and something I can offer. It's not always thematic. I wanted to do 'The Grinch' because I wanted to direct Jim Carrey creating that kind of comic fantasy character live. I just thought that would be a mind-blowing experience, and it creatively was.
'London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.
The thematic core of 'X-Men' is tolerance. It's that for those of us who are different in any way - in a big way, whether it's you're a minority, you're a woman, you're a Muslim, you are suppressed or marginalized - it can go the whole spectrum - but even if you are shy or you feel like an outsider - and X-Men are outsiders.
I really love horror novels, horror films, that are pointing at deeper ideas and thematic meaning. It's a way of thinking about films differently; that's what I think I like the most about it. I love the fact that's it's pointing at a more mysterious world - that the world is more of a mysterious place than we tend to let ourselves believe.