Quotes About Thematic

I was trying to get a handle on Blindsight; I entertained and discarded any number of adaptive functions in search of that grand thematic punchline that would end the book. Yes, my protagonist would realize, self-awareness is absolutely essential because of X. The problem was, I couldn't find an X that stood up under scrutiny; and it took me far too long to realize that Consciousness is good for nothing at all was the scariest and most existentially gut-churning punchline imaginable.

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The historic sea changes that have taken place in our country's rural areas are clear proof of the validity and vitality of the socialist rural theses advanced by President Kim Il Sung.

Shakespeare is a wonderful language to speak, but it's also a world to get your mind into thematically.

Every serious novel is, beyond its immediate thematic preoccupations, a discussion of the craft, a conquest of the form, a conflict with its difficulties and a pursuit of its felicities and beauty.

One of our great thematic traditions in Bad Religion has been to question human nature.

Science] presupposes as data principles that are themselves thoroughly lacking in actual rationality. In so far as the intuitive environing world, purely subjective as it is, is forgotten in the scientific thematic, the working subject is also forgotten, and the scientist is not studied.

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.

'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.

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 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've always been very thematic with my work, very conceptual.

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.

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.

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.

'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.

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.

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.

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 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.

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.

When we moved from 'Ice Age' to 'Ice Age 2,' we were really stuck; a story didn't just organically emerge. While I'm very proud of 'Ice Age 2,' from a storytelling sense, it's a very thin story.

What I write is very personal, but not autobiographical. It's more 'thematically personal' - what's up in my life in terms of themes at the moment.