I believe a good memoir should have all of the narrative elements of a novel: character development, dialogue, descriptive language, and metaphor.
I think I've learned a lot about how to make movies, and particularly about how to edit movies by thinking about how similar problems are resolved in other forms. The issues in all forms are the same in an abstract sense, aren't they? Characterization, abstraction, metaphor, passage of time... Whether it's a movie, a novel, a play, or a poem, those issues exist. And each person resolves them differently.
The American Heritage Dictionary defines crucible as "a place, time, or situation characterized by the confluence of powerful intellectual, social, economic, or political forces; a severe test of patience or belief; a vessel for melting material at high temperatures." A crucible was the vessel in which medieval alchemists attempted to turn base metals into gold. That the alchemists inevitably failed in their audacious attempts doesn't denigrate the power of the crucible as a metaphor for the circumstances that cause an individual to be utterly transformed.
Neotony is a metaphor for the quality of life - the gift - that keeps the fortunate of whatever age focused on all the marvelous undiscovered things to come.
It's a beautiful aspect of narrative construction, hunting for the right images and metaphors to render our character's hearts/minds/souls as though they're ecosystems, full-fledged settings for a reader to inhabit like a place.
Boxing remains an important living metaphor of the struggle for equality.
I still think that there's some kind of psychological investment in black athletes carrying the flag for "us" at times. So, sports [remains a] metaphor for struggle and triumph and flair.
Much like photographs, I also love the idea that ghosts are memories frozen in time. We can be haunted by both just as horrifically. One really becomes a metaphor for the other.
If you think about Don Quixote, Don Quixote is this guy who wants to live as if he was in a medieval chivalric romance, when actually he lives in sixteenth-century Spain, which is already going through secularization, industrialization, modernization. He goes out to kill a giant, and instead he collides with this huge windmill and injures himself and also damages the windmill. I think that's a metaphor for the collisions we all have over time, as our ideas of ourselves get out of synch with the historical moment.
I use a lot of similes and metaphors when I work, simply because it's my best way of describing a building or a scene. I'm terrible at describing landscapes - trees, buildings. The inanimate things don't interest me: I always think, "Oh, no, here comes another building I have to describe." So I usually use a simile or metaphor.
I write every day, for most of the day, so it's just about turning into metaphor whatever's going on in my life, in the world, and in my head. Every nightmare, every moment of grief or joy or failure, is a moment I can convert into cash via words. I use everything. Turning life into stories is how I make sense of my experience.
The American dream is a multi-metaphor made up of distinct regions. Many regions of this country are almost like different countries. Even in one state, northern and southern California are like two separate countries.
Spiritual truth is something that is so far from us - without any form or name that we can imagine - that we need the things that religions gave us simply as images and metaphors. But they can be found in a variety of ways. It's not a question of religious practice.
I made a note in my head to be aware of things as they were happening, because they might not happen again. Up to that point, I was not really that appreciative of what was going on, or thinking about documenting life in a plainspoken manner. I was talking about my life and writing songs, but then I would go back and listen and they were about dreams, and legends, and metaphors and that was just not my life!
As a child I always loved traditional Korean masked dances. There is something magical about a mask because we all wear or hide behind a metaphoric mask, and ultimately underneath this metaphor is our true vulnerable core. I think we all want to reveal ourselves but can only do so when we feel we are safe.
Fire is a symbol for so much. It's a symbol for change. It's a symbol for destruction. Out of the ashes of that comes an opportunity to start over. It's one of the greatest metaphors in nature that you can possibly lean on, especially as a songwriter. You're trying to describe either something coming to a complete and utter end or something that is in flux, or something that's on the verge of becoming something else.
'Triboluminescence' is actually a scientific world meaning striking something and creating light from dark. I thought it was a great word and that is was a very apt metaphor for making music - or any creative act, really. We all start in the dark and have to create light.
To use a basketball metaphor, West Wing cast was a group that liked to pass as much as they liked to shoot.
I was afraid that something would happen to me. But at the same time I was lucky, because some writers were tortured and jailed. I always used metaphors that could be interpreted in more than one way. Maybe this style protected me.
Don't assume a parable narrates something that actually happened. Recognize that apocalyptic is filled with symbols. Expect a lot of metaphors in poetry. Don't treat a proverb as an exception-less absolute.
It seems to me that metaphors come down to a certain idea of interconnectedness - that everything relates to everything else. Metaphors don't believe in autonomy. And in the end, perhaps that idea of interconnectedness is a moral position.
I think zombies have always been an easy metaphor for hard times. Because they're this big, faceless, brainless group of evil things that will work tirelessly to destroy you and think of nothing else.
It is also difficult to articulate the subtleties in cinema, because there aren't words or metaphors which describe many of the emotions you are attempting to evoke.
Of course I didn't pioneer the use of food in fiction: it has been a standard literary device since Chaucer and Rabelais, who used food wonderfully as a metaphor for sensuality.
The desktop metaphor was invented because one, you were a stand-alone device, and two, you had to manage your own storage. That's a very big thing in a desktop world. And that may go away. You may not have to manage your own storage. You may not store much before too long.
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