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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.
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.
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.
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.
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 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.
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.
'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 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.
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.
One of our great thematic traditions in Bad Religion has been to question human nature.
'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.
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.
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.
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.
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.
It might be thematic work. It might be theatrical. I enjoy that kind of work.
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.
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.
Glen A. Larson
A. P. J. Abdul Kalam
C. S. Lewis
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