Sci-fi is often a metaphor. I think it's more the themes and questions that science fiction raises rather than the exact predictions that should guide us.
Death is a big theme in the book, illness. What is that? It's a fact that human beings - no matter who they are, no matter how healthy or strong or beautiful they are - are going to age and become weak and ugly by a certain standard, and die. And I think that's a terrifying idea for people to get their minds around.
Comedy is grievances. It's a recitation of grievances - whether they're inconsequential, superficial - like "my wife shops too much", or "kids today", all those old-fashioned themes - or, if it's deeper, and somewhat more thoughtful, about social imbalance and inequities, and the folly of human behavior. It's usually a complaint.
As well as Japanese animation, technology has a huge influence on Japanese society, and also Japanese novels. It's because before, people tended to think that ideology or religion were the things that actually changed people, but it's been proven that that's not the case. Technology has been proven to be the thing that's actually changing people. So in that sense, it's become a theme in Japanese culture.
The theme that runs through all my books is connection. Connection - physical and non-physical - with other humans, and connection with nature are necessary for our well-being. Without it, we are depressed, lonely, and fail to thrive.
Southern writing is regional: it includes dialect, settings, and cultural traditions from that region. However the themes and story conflicts are universal. My challenge is to write regional fiction without falling into the trap of nostalgia. There are important issues facing the south that I believe should be raised in the stories to make them contemporary, believable, and relevant to today's readers.
I'll have a sentence in my head that's kind of beautiful and interesting, but I'm not sure why or where it's coming from. So it's kind of funny, because when people point out patterns or themes, it's the exact opposite of my film school experience.
I'd prefer people read about Churchill and how he wasn't overwhelmed by Nazi Germany. Amazing; that the morale of a country rested on one person's shoulders. Extraordinary people carried that country through its darkest hours; truly inspirational. I suppose that's my theme. Whether it's a biography or a movie; whether it's fictional or true, I'm inspired by people doing great things.
I've always been a writer who tackles complex themes and risky subjects - I write about the things that people think but never say aloud.
In most of my films I write the music into the script. I'm listening to songs and lyrics that empower the themes of the film. There's a lot of Indigenous music that has not been heard widely and I love the idea of giving that music to the rest of the world.
I speak of the current civilization and I consider her not as a symbol but as victim-victim, really, of the commercialization, of the falsification of this real world. That is my theme.
Drawing from art history and mythology allows me to connect with viewers in a familiar, yet loose visual framework. Blending disparate histories and themes can give the overall presentation a recognizable, yet unique flavor.
The main trend with the theme episodes is that anywhere there is a misconception about the way the physical world works, we're finding fertile material. Whether it's in a phrase like "going over like a lead balloon" or "a needle in a haystack," or tackling movie myths or even a genre, like MacGyver or James Bond, we're finding that all these things can lead to people believing the world works in a certain way. It might not be correct, but we can test out if it's true.
So much of the writing is not conscious, in the sense that it's not calculated. I remember in film school we had so many studies with big fancy words where you could dissect a movie and make charts of all of the characters' complicated inner relations and themes and what does this mean? And it's overwhelming as a student. It's great for a student, but as a writer, it's paralyzing.
It's the universal feeling that we all are alone - that we're all different. I think the movie's one resounding theme is that everybody feels the same, and we're all alone together. Some people come up to me on the street and thank me for helping them get through their teen years.
Over the years I've never written or made movies about political themes 'cause while they do have current critical importance, in the large, large scheme of things, only the big questions matter and the answers to those big questions are very, very depressing.
I never have a thematic intention at the outset. The story informs the theme for me rather than the other way around. But as it happens... this is, at least to a degree, about getting old and the rapid passage of our lives.
Making a film is like making a mixtape. You're collecting all this stuff and putting your favorite stuff into it: you have actors that you like, characters that you're interested in, moments you want to explore, themes you want to deal with, music that you want to put in. It's a pastiche of all these things that deal with how you see the world. You're just trying to make a love letter, a gift.
I'm always loath to make generalizations about what is for children and what isn't. Certainly children's literature as a genre has some restrictions, so certain things will never pop up in a Snicket book. But I didn't know anything about writing for children when I started - this is the theme of naïveté creeping up on us once more - and I sort of still don't, and I'm happy that adults are reading them as well as children.
To hold silence and to be silenced are two very different experiences. And so another theme emerges, that of light and shadow. When we share our voice, who benefits? When we withhold, who benefits? And what are the consequences and costs of both?
We find our voice, we lose our voice, we retrieve it, honor it, and hopefully, learn how to share it with others and stand in the center of our power. Translation is a theme. Fear and courage are a theme.
One thing it makes me realize is just how similar we all are, around the globe. The details may be different, but every human heart is touched by themes like hope, comfort and mercy.
Evil hiding among us is an ancient theme.
I began to write fiction on the assumption that the true enemies of the novel were plot, character, setting and theme, and having once abandoned these familiar ways of thinking about fiction, totality of vision or structure was really all that remained.
Any film is about heroism: the triumph of good over evil. If you look back at my films, you will see that as a recurring theme.
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