That's a big battle to win, to be able to do a main title sequence and a theme song these days. That's not something network television does anymore.
I'm just really old [in Doctor Strange]. Just really, really old. There is I suppose a sort of theme tune which I'm really interested in.
When you're writing, at least when I'm writing, I don't think about themes and I try not to sermonize with any particular message.
To be influenced by a magazine and, say, a Swedish theme, unless it resonates with you, it seems kind of odd and influenced.
I checked the emails the same theme that I could summarize them. "Rush, whatever you're talking about here - [Donald] Trump, you talk about the Republicans, [Barack] Obama and so forth - nothing's gonna change with the media the way it is. And all of it is academic, Rush. You know it".
It is hard for me to speak of themes. I like the reader to do that. Otherwise it feels like writing a 3rd grade essay on someone else's work.
I never start with what lots of people think of as a subject or a theme. They're school words, not art words. So, writing essays busts my arse because the art is in addressing the subject. I find it really difficult and monstrously time-consuming. In an essay I need to employ my imagination but it's indentured in a way it's not when I'm free to make everything up.
I think we all have a certain number of "coming of age" songs, and then a writer has to expand and grow into more varied and specific themes. And the music industry is, like Jawbreaker says, "selling kids to other kids," so it makes sense that those early songs in a writer's life are often the ones that catch people's ears, and later work is more difficult and less immediate.
I don't think that the universal themes of love, compassion, and forgiveness (are present). (You're) searching constantly for the next step, the next level and consciousness in your spirituality, who you are as a human being and what you contribute to society or what God means to you is always a course everyone goes on.
For not by art does the poet sing, but by power divine. Had he learned by rules of art, he would have known how to speak not of one theme only, but of all; and therefore God takes away the minds of poets, and uses them as his ministers, as he also uses diviners and holy prophets, in order that we who hear them may know them to be speaking not of themselves who utter these priceless words in a state of unconsciousness, but that God himself is the speaker, and that through them he is conversing with us.
But that we shall be better and braver and less helpless if we think that we ought to enquire, than we should have been if we indulged in the idle fancy that there was no knowing and no use in seeking to know what we do not know; - that is a theme upon which I am ready to fight, in word and deed, to the utmost of my power.
The form is always integral to the expression of the theme or to the sheer telling of the story, and sometimes the right form is apparent to me from the outset and sometimes it isn't.
It was exciting to work with director Jennifer Baichwal, who made Manufactured Landscapes and others, on the film of Payback: Debt and the Shadow Side of Wealth. It's called, simply, PAYBACK. Jennifer didn't want to do a transliteration of the book, a kind of illustrated version, but to go into the core of the book: owing and being owed, paying and paying back, on all sorts of levels. So she found real-life, visceral stories that embodied the themes of the book.
My role - and that is too emphatic a word - is to show people that they are much freer than they feel, that people accept as truth, as evidence, some themes which have been built up at a certain moment during history, and that this so-called evidence can be criticized and destroyed.
Despite the variety my books reflect my, perhaps foolish, tendency to place artistic above financial concerns; of enjoying the more mature themes in whatever creative form; of being on a mission to show that comics are not just for kids; and on a wider level of standing up for individuality against conformity.
Being an older person now, I'm finding that people are calling me to play various things. Variations on the theme of mother, caretaker, and in some cases, doctors, heads of organizations and things like that. For some people, I'm finally old enough to play those roles. We see men playing them when they're a little bit younger, and also in roles that call for some form of conflict and violence, either generating it or trying to curtail it. Women don't seem to be a big part of those common and often used movie themes.
Just because I don't sing about the normal country themes doesn't mean my songs aren't country. I'd rather sing about having fun.
One big theme for me is that we have got to move from an economy built on debt to one where we save and invest in the future.
I started as a community organizer. Every one of my campaigns was premised on getting new people involved. And if there's a theme in my public career it's that if ordinary people get involved then good things happen. So I want to see the Democratic Party move in that direction. And what that means is that we aren't just micro-targeting to eke out presidential victories; it means that we're showing up in places where right now we're not winning a lot.
The two teachers that I had in the Art Institute who affected me the most were Kathleen Blackshear and Robert von Neumann; Kathleen Blackshear because she taught a class called design - I can't remember, design something, and in this class - it met once a week - we would do work centered around some theme, word or subject or technique or whatever, and bring it in for a three-hour discussion. And Kathleen was able, in watching and looking at our work, to direct us to all kinds of things which might relate to what we were trying to do, but she never attempted to tell us what to do.
I first wrote down all the phenomena that have emerged in contemporary society that I thought were related to this theme ["sea of oblivion"], and then sorted them out by grouping them into islands of ideas.
This is why there is not any artist who takes Internet as the theme. My position is quite the opposite to the current trend of art, but this is exactly why the title of my exhibition is "ART Fahrenheit 451".
A novel must work as a story because no one's going to get to the other themes if you don't entertain the reader. But I like to have another layer of meaning, although you can read the book on one level and not bother with that other layer.
Wherever my story takes me, however dark and difficult the theme, there is always some hope and redemption, not because readers like happy endings, but because I am an optimist at heart.
There's probably more of a struggle to get material and narratives published that really speak to black culture. And that has a lot to do with the mergers and buyouts and the corporations being more in control of the purse strings. We find that the projects have to come with higher expectations rather than books that just should be published. That's disturbing because we might find fewer and fewer children's books by African Americans or with black cultural themes.
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