With my students, I don't offer any simple tips like that, maybe because my own process is pretty messy, but when we workshop we talk a lot about the deeper subject, which is what the story or novel is about. I think defining a narrative's themes can lay bare a narrative's tensions.
I thought of the structure as musical. The first piece, for instance, contains the names/subject matter of every person to come in the book. Like a piece of music with themes, etc.
I guess I try to find the humor by juxtaposing deeper themes in literature with what people perceive as being lighter, disposable children's fare in comics.
I start every first draft with voice rather than theme or image or even character as such, so it isn't like I'm ever rubbing my hands, cackling, "The dad is really going to take it on the chin in this one!" Not in terms of any given story, and certainly not in terms of the collection as a whole.
The White Horse video which was directed by Marco Ovando started off with a biker theme. Once Ava Sanjurjo came in as stylist along with Marco & I it really took it's own shape. It was all very improvised but wound up paying homage to NY and night life. People say it reminds them of a Guess ad which I love!
The themes that the anti-globalization protesters bring to the discussion are of extraordinary importance. However, the theses that they often bring to it, sometimes in the form of slogans, are often oversimple.
One of the things that we talked about was this idea of 'Memento Mori' - like the reminder of our own mortality - and so we were sort of trying to express that in our press photos. And it's one of the themes of the album [Modern Vampires of the City] as well.
I wasn't writing stories with the intention of creating a particular collection. I simply wrote stories, and then discovered common themes among a good number of them.
I'm not conscious of my own themes as I write first drafts, no, and in fact, I work hard to stay in that unconscious space and not ask myself what the novel is about or what my metaphors might mean because then, I think, you're just dead in the water.
Self love is a great recurring theme, the headwaters that feed my ability to be the best version of myself in every other aspect of my life. Self worth sets the standard that life meets.
I think in terms of the themes that I have worked on most is establishing questions of race in the context of Latin America. This is a theme that makes uncomfortable a lot of people, and it obviously makes the Latin American Left uncomfortable.
I believe in terms of the work that I do, in establishing dialogue about race relations in Latin America, steps on one of the most relevant themes today.
While I like people, I do also like being alone in a room and seeing what you can do with a particular theme or subject.
I'm not saying it's a bad thing to do, but when you try to deal with prescient themes in the present, that is what you're doing.
There's always that moment when you realize what it's going to be. You might have an overarching theme and you need to fill in the blanks - and then there's this "Aha" moment when you see where it's going. That's the most satisfying part of writing.
Here is how I work: when I think that a film needs to have a principal theme, I search for a melody. I have a very strange melodic gift: melodies come to me effortlessly. So I write melodies-thirty, forty, fifty-then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide. That happened one time with Jacques Demy for the duo of the twins [in Les demoiselles de Rochefort]: I went to his house in Noirmoutier to play 35 possible themes for him.
I'm always thinking about the next record. I've got like 20 different themes and then I'll scratch the themes. It's a learning process.
I first heard music while in the womb. My mom tells me she played Tubular Bells with the headphones against her stomach all the time. A bit disturbing as I believe that is the theme to The Exorcist. Maybe she thought she was having Satan's baby.
Jazz is the music of the body. The breath comes through brass. It is the body's breath, and the strings' wails and moans are echoes of the body's music. It is the body's vibrations which ripple from the fingers. And the mystery of the withheld theme, known to jazz musicians alone, is like the mystery of our secret life. We give to others only peripheral improvisations.
Critics have never been able to discover a unifying theme in my films. For thatmatter, neither have I.
Rachmaninoff made a musician out of me. His 'Rhapsody on a Theme by Paganini' was the piece that sent me into raptures. It spoke to me. To me, it was a tender entreaty for the misunderstood.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
This week Disney opened its first ever theme park in China. More than ten thousand children showed up on opening day. And that was just to make the T-shirts.
The function of the artist is the mythologization of the culture and the world. In the visual arts there were two men whose work handled mythological themes in a marvelous way: Paul Klee and Pablo Picasso.
I always knew what I thought the theme was, the core, in one word. In 'The Godfather' it was succession. In 'The Conversation' it was privacy. In 'Apocalypse' it was morality.
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